A TWILIGHT ZONE: CHOiCE / Kaytranada / Solange

A Twilight Zone, the chronicling of Salt Lake City denizens looking for music, adventure, & life at the Twilight Concert Series

Josh

Another Thursday night in the late summer means another edition of the Twilight Concert Series. This week the curators of the series managed to book modern R&B hero, Solange. The attendance was dense and eager for the show. The tension built with the news that Solange’s flight was delayed. A quick check of her Instagram story showed her still on a plane from Texas at about 9:30 pm. It wasn’t clear when they landed of whether or not her band and crew were also delayed. At about 10:05 pm it was announced that Solange had arrived and would be starting soon.

The audience moved closer as the set began. The band took the stage first. All of the members were dressed in red. Their attire matched the background of the stage, which included a large red circle piece in the background that appeared three-dimensional when the stage lights created shadows. This monochromatic theme put the visual emphasis more on the musicians and their movements.

Enter Solange. The crowd goes wild as she displays her subtle finesse in both her dance moves and her opening vocalizations.

The entire set consisted of artistic coordinated dance moves that varied with each song. In one instance the group lined up from tallest to shortest and continued to move the song along with hip swings and a smooth 80’s funk style “keytar” bass line. The audio side of things was delightfully crisp with amalgamations of genres including funk, jazz, R&B, hip hop, soul, and disco.

The band kept the audio effects to the minimum and as a result, the audience got a transparent wave of warm sonic bliss. I could pick out any instrument and enjoy focusing on its subtle nuances. The drummer was especially precise and smooth as he moved back and forth between a drum machine sample pad and his acoustic kit.

If I had to sum up the performance in one phrase, I would say it was like a combination of Talking Heads’ Stop Making Sense and a killer episode of Soul Train. Solange, like many modern artists, draws heavily from artists of yesteryear. However, the influences do not cross over into simple reactionary territory. Her work makes me excited for the future of music in general. Give her a listen; her work is worth much more than just the novelty of being Beyonce’s sister.

Sarah

As a music, theatre, and art lover, I have a special fondness of musicians who incorporate striking visuals and dramatic performances into their live shows. Solange is a prime example of this.

Everything was a bright and energetic red as Solange entered the stage to perform “Rise,” the first song off of her album A Seat at the Table. The song is simple and repetitive, which are words most artists don’t want associated with their songs, but in Solange’s case, the term “simple and repetitive” is a good thing. Her songs tend to be more poetic and intentionally repetitive to add to the meaning of the song itself, which is something not a lot of musicians can pull off elegantly.

Another thing that stood out to me about Solange was her soft and almost whispery vocals. However, while her voice may be soft, her lyrics are anything but. They’re powerful, political, and heartfelt. I rarely cry at concerts, but I’d be lying if I said I didn’t shed a few tears while listening to her perform “Cranes in the Sky,” with lyrics like: “I tried to drink it away, I tried to put one in the air, I tried to dance it away, I tried to change it with my hair.”

While professional photos weren’t permitted during Solange’s performance, the stage was quite a sight to see. The background was bright crimson with a reflective red circle in the center. Everyone, including the band, wore a red outfit, adding to the vibe of the show. While I’m not quite sure why the color was chosen, to me it felt powerful. It also certainly commanded the attention of the crowd.

Geoff

Twilight. I don’t think I’ve ever wanted to leave that big of a concert unconcerned about missing the headliner, and yet, there I was.

I heard a lot of hype about KAYTRANADA and honestly, I couldn’t have cared less. Awesome, another hip-hop producer. As if the thousands living in their parents’ basement wasn’t enough, they decided to put this guy on stage. What’s he going to do? Spend 30 minutes making a track for someone not to rap over? I was there for Solange.

After the admittedly solid DJ Choice finished her set, everyone seemed to be ready to explode for KAYTRANADA. These are my peers, other K-UTE DJs who definitely have decent taste, so maybe I should hear this dude out.

When he came on stage it felt like a crowd formed immediately. We wiggled our way into the middle and proceeded to jam for the next three hours as KAYTRANADA stood at his laptop bobbing his head. While he might not have been the best stage performer I’ve ever seen, the music was something else.

I don’t quite know how to put my experience into words, but here’s my best shot: His beats connected with me on a primal level as if despite its synthetic nature this was somehow going back to the music of my ancient ancestors. His vibe and groove seemed to hypnotize me and rest of the crowd. I danced, screamed, and at one point raised my middle finger and said “I don’t give a fuck!” all at his command. Motion was effort less, and somewhere a deep feeling of content arose within me. I was putty in KAYTRANADA’s hands, my actions corresponding to the buttons on his keyboard.

Unfortunately, a Station Manager’s work is never done and when I finally broke away something had changed in me. As I packed up our booth and lugged it back to the van I felt sad, I couldn’t focus on the music, now it was just a background track. When I heard the rumor that Solange was coming, just very late, I didn’t care. I had already gotten what I needed from this Twilight, my legs are tired. I’ve been up since 7, let’s go home.

Martyn

So there I was again, mingling amongst the Twilight crowd for the fourth time this year, not really knowing where to go at the moment or really if there was a where in which to go to. Suffice to say, perplexed‘. The crowd had grown massive in quantity of bodies compared to a few hours ago. Something about this concert. The mystique maybe? Solange‘s appeal? Either way, the first DJ, CHOiCE gave the crowd something to mingle and drink drinks and talk of probably hugely important affairs with one another. The rhythms were even throughout as if this DJ chose not to take choosy chances with more austere or different beats. Mostly it was the drums. Mostly, I felt as though I should wander over to the free food.

The free food being farther than I thought, I wandered blindly through the crowd (also known as the inevitable and incomparable smoke in my eyes and also I’m very short) until Kaytranada began his set. I watched from afar, eating pizza with a friend. This being the largest Twilight crowd so far (waiting with a stone’s patience for the delayed headliner) was a sight to see from far away. A mass of bodies, pushing out the parameters of fences and personal space to watch Kaytranada hover over his laptop. The visuals on the background movie theater screen were deftly impressive, moving from live action dancing to the swirl of incandescent warm colors in a kaleidoscopic swirl of a post-Y2K hypnotist. The Crowd (uppercased now in all its glory) felt strongly for Kaytranada, dancing, swaying, pulsing single hands attached to arms moving vertically in a calm frenzy of limber strength. An angel of a human next to me told me that this artist had played two of his favorite songs, “At All’ and “girl” which was produced for The Internet. People were blown away and the spirit of Twilight lived on.

Solange finally made her appearance after a few delays, bequeathing the stage and the crowd by dressing all in red with a lusciously red stage and accompanying dancers. She started slow and rose to a wonderful climax of music heard throughout the city. The noise ordinance was really disregarded for the best of reasons. Once again, after the music, after the sweat, and stress and noise and bumping into people, I had enough and awoke the next morning in this weird stupor.

 

Photos by Trevor Von Hake @trevorvonhake and Sarah Nelson @sarahnelson208

A TWILIGHT ZONE: Antibalas / Kamasi Washington

A Twilight Zone, the chronicling of Salt Lake City denizens looking for music, adventure, & life at the Twilight Concert Series

Sarah

One of my favorite things about the Twilight Concert Series is their ability to showcase so many different styles of music. While last week’s performance of Kurt Vile could be best described as more country-rock style music, Kamasi and Antibalas put on a show strongly rooted in jazz and afrobeat, but both very different in tone and feel.

Before them, however, was a local DJ named DJ Ebenflow who got the crowd bustling with an interesting mix of DJ beats and 20’s style music. Even though it wasn’t my favorite, I thought his unorthodox mixture of old and new music was very different and interesting to hear. Plus, his man-bun was quite beautiful.

After DJ Ebenflow, Antibalas came on. One of the first things I noticed was the sheer size of the band. There were sax players, guitarists, trumpet players, drummers, the list goes on… Then, the band’s lead vocalist Amayo entered the stage in an elaborate white outfit and a personality that immediately captivated the audience. He sang about themes like peace, love, and mother earth. Each song almost felt spiritual in a way, and you could tell that the band members and audience were both feeding off the crowd’s energy.

Sadly, I had to leave before Kamasi came on, but I had a chance to research his music when I got home. The first video that came up on Youtube was a song called “Truth.” Even though the song is 14 minutes long, I got chills within the first 3 seconds. Beautiful visuals, melodic jazz, and political undertones immediately elicits emotion from the listener, which is exactly what good music should do.

Jacob

It’s Twilight season! A busy and important man like myself unfortunately cannot make each show, so last week’s Kamasi Washington show was my first of the summer. 

Getting there as late as I did, the first opener, local cat DJ Ebenflow, was already mid-set. I had never heard of him, but he has a pretty strong following in Salt Lake City and after hearing him live I can see why. His electronic music pulls classic jazz and swing samples and meshes them with his own beats. The result is a unique sound that could belong in a carnival or an old silent movie. Introduce your ears to him with his ‘I love the swing!’ set. 

Next up was New York based Afrobeat band Antibalas. Man, these guys are funky. Even at the K-UTE tent I couldn’t stop dancing. These guys bring strong brass instruments and a great stage presence and make a genre that’s generally unpopular a fun, uplifting experience. At this point, the crowd is starting to build. I was pleasantly surprised by the amount of people that came out to a jazz show, and especially surprised by how the young the crowd was. Maybe millennials will do something cool with our time, and keep jazz from going extinct, eh?

When Kamasi and his band finally came out the crowd went wild. With two drummers, a stand up bassist, pianist, vocals, an eclectic group of brass with a trombone, flute, and soprano saxophone, Kamasi led the gang on his sax and they were loud. They really got the place rocking with some of their classics. Easily my favorite part of the show is when everyone went through their solos. Every musician rocked the stage for five minutes or so, and then left the stage to the two drummers. Their back and forth battle was insane. Both taking completely different beats and twisting them over each other in a frenzied harmony sent the crowd over the edge. No one could stop dancing, everyone was moving around and having a good time. One thing I love about Kamasi Washington and his band us that they can push a political stance with the peacefulness that jazz requires. This was definitely one of the best shows I’ve seen all year.

Martyn

Then it was Thursday again, already, and I made my way down to Pioneer Park for the first Twilight of August so underneath the sun (again, it’s clichéd already) I walked forward to the beginning of the show. Comparatively, and perhaps because of no local band to open, there were few people surrounding the outskirts of the wearisome stage. I moved on into some shade.

A DJ by the moniker of Ebenflow came on and gave the audience something to dance to. They did. It lacked a certain personal touch of a local band, but hey, the sunburns were worth it for those dancers. After a quick break, I found myself in the VIP section, sitting on a white chair instead of my usual pose of ‘my feet hurt’. Antibalas came out and absolutely had me throwing that chair out of my place so I could dance. The wonderful jazz/funk group came alive with so much energy, the music twisting with heat to create a lively, energetic performance. Soon enough though, Antibalas ended their set and the crowd was growing.

Calm again, I went back for more tacos (mostly no one was eating the delicious zucchini filling). Kamasi Washington quietly made his way to the stage to engage in one of the most full-sounding

Twilight shows yet. With his band and singer Patrice Quinn by his side, Kamasi had the crowd grooving and moving to jazz in huge numbers. For this, I went directly into the middle of the crowd towards the front because you can’t not be taken in by someone performing with this much personality and this much vitality. The music itself was not out of place at a show like Twilight. Nothing was out of place, really.

Photos by Trevor Von Hake @trevorvonhake

 

A TWILIGHT ZONE: 90’s Television/Whitney/Kurt Vile & the Violators

A Twilight Zone, the chronicling of Salt Lake City denizens looking for music, adventure, & life at the Twilight Concert Series

Josh

A local happening, a local enigma, a local band is taking the opening slot for this concert. That band you ask? 90’s Television. An enduring sun hits the stage as the group grabs their instruments. A crowd of early arrivers crawls from the shadows towards the front of the stage. It’s a diverse group of slimy monstrosities: cyborgs, mutants, weirdos, voidoids. It’s an amalgamation of sunglasses, tank tops, and scaly skin recently burned by the salty city sun.

A groovy wave hits the crowd as the group opens a cold one with their classic tune “Radio 90s”. Oooweewoowee, now that’s what I call a hair splitting specter. The group appears to be locking the crowd into an unknown form of hypnosis using their powers combined. Drummer Jeremy Devine (known robot) mines unseen rhythmic crystals that are channeled by the guitars of both Greydon Benzmiller (resident wizard) and lead singer Dravland Brown (vampire spirit, incarnate). Dravland and Greydon send the harvested power into the hands of their trusted bassist, Craig (a friendly martian). Meanwhile, Craig’s head starts to become swollen with the kinetic energy of the group’s power pop inventions.

No momentum is lost as they power through classics like “Bug Girl” and new innovations like “Karmakazi”. As Craig’s head grows, the crowd becomes weary of what might become of the situation. The band closes with an expertly triangulated transmission of their hit “Channel Surfing”. The head is so far bloated at this point and explodes buckets of green foam onto the crowd. The radiation from the foam puts the crowd into a state of panic. Craig quickly regrows a fresh head, and the band exits the stage. Spectacular as this is, you must continue your journey, as the groups of Whitney and Kurt Vile are soon to enter frame…

Sarah

Considering last year’s Twilight Concert Series was how I originally became involved with K-UTE Radio, it was needless to say that I was extremely excited for this year’s lineup. My friend and I arrived at the concert just in time to see the local band, 90’s Television. They opened the show with surf/rock rhythms and a relaxed audience repertoire.

After their set, I headed towards the food trucks to scope out the dining options. I walked around for a while until I saw a lady carrying a small cup of light-purple liquid. Intrigued, I headed in her direction and found a Poutine truck selling drinks called “Hummingbirds” made of lavender soda and a lemon wedge. After being in the summer heat, I made the best decision of the day and ordered one. If you get a chance to go to the next Twilight Concert, so should you.

Soon enough, I heard the rumble of the next band coming on and headed back to the crowd. The first thing I noticed was the sheer size of the band. SIx people including a trumpet player and a lead singer playing drums took up the stage. They announced their name, Whitney, and played a set of seemingly upbeat songs with underlying darker themes like depression and break ups.

Even though I had never heard of Kurt Vile & The Violators before the concert, I took a listen to the song “Pretty Pimpin'” before the show and immediately fell in love. While I wasn’t a huge fan of his other music, my friend has a video of me going ham to that song which might double as blackmail later on. His quirky, introspective lyrics and country-style guitar riffs make him a perfect artist to sit down and listen to on vinyl.

Martyn

I re-awoke after a weirdly long week of not going to Twilight Concerts in time for this week’s Twilight Concert. After walking through the city of Salt Lake under a ceaselessly unwavering sun, I arrived (again, shivering with anticipation for lanyard glory) through the gates into the park which has now become a real haven of sorts on Thursday nights. You could say music was in the air or something like that.

The first band, 90’s Television opened up against the final afternoon blaze with pure rock ‘n roll. More local heroes adorning themselves in deserved spotlight had the crowd shimmying. I saw two patrons holding up larger-than-accustomed-to print outs of the bassist’s head. The bassist laughed, we laughed, the sun went down a little further. Wearing only sunglasses sans prescription, I bumbled my way through people on blankets and unsteadily placed-on-the-grass drinks.

After sneaking behind the K-UTE table to rest on a weirdly comfy bucket, I went back into the crowd for openers Whitney. The experience of seeing a lead vocalist/drummer live is something of note, even if the songs (albeit a cover of the “Golden Girls” theme) had a steady and unwavering rhythm. The songs weren’t exactly catchy but the sounds still fulfilled expectations. Concurrently, I was awestruck by the power one band member had using and instrument called a trumpet. Each time this trumpet would blow, the crowd would immediately begin woo-ing and clapping in awestruck mob fascination at the certain long note emanating from the small brass.

Finally, as the night began to wrap around the stage in an awesome shroud, Kurt Vile & the Violators came on the massive applause. Week Two was slowly ending in between the songs which already had a melancholic air and I felt a pang of sadness. Kurt Vile had that certain rock-star swagger and great jeans you’d come to expect from someone out of Philadelphia. When with his band, the songs flourished; when solo, Kurt Vile still held people in attention. After his set, the crowd dispersed into the night amongst talk of past and future and I headed to the train which was way out.

 

 

Photos by Trevor Von Hake & Sarah Nelson

 

 

Twilight In Ogden: Miike Snow & Klangstof

Ogden Twilight has not disappointed me yet. If you’ve ever driven to Ogden from Salt Lake City, you may know how bad traffic can get between Farmington and Ogden. On the way to the Miike Snow concert, the traffic doubled due to an automobile accident. That did not stop me from seeing Swedish band Miike Snow and Dutch/Norwegian band Klangstof with a spotlight on local heroes New Shack.

Driving an hour north is usually worth it when going to the Ogden Amphitheater. It’s a very nice, friendly, and welcoming venue. When I arrived, I bought myself a frozen pink lemonade, and smoked while I waited for Klangstof. A very clear day, only a few small cirrus clouds in the sky. The place was getting packed. Due to the traffic, I only caught the last few moments of New Shack’s set. I listened to their music on SoundCloud when I got home. New Shack is from Provo, UT and they have a very new age indie pop sound.

Klangstof is a progressive/indie/alternative-rock band. The drummer would go back and forth from drum pad to traditional drums. Sometimes, you can tell when a band stumbled into the music industry; Klangstof is not one of those bands. These guys look like they have been on the grind for a while, and they are now on tour with Miike Snow. I fell in love with Klangstof‘s singer Koen Van De Wardt. He said the band, Miike Snow, had an incredible Swedish tobacco, but it stops working. The joke fell flat but I laughed.

From what I can tell, it can’t be easy to keep a band together. The way Koen kept all of his band mates engaged and relaxed showed me how real this band is. Very dual-sided, beautiful, light at times, with droning tones and complex shredding. This band was perfect for helping me release the built up tension from the awfulness of the world. After Klangstof‘s set, I felt like maybe things aren’t that bad.

After playing with the Pepsi Patrol, there was a brief introduction to the indie/pop/electronic band, Miike Snow, from the same host who introduces every Ogden Twilight I’ve been to. She introduced the band and then about ten minutes later Miike Snow came on.

This band had been apart for a little while working on solo projects. At first, they seemed to be very okay with me taking photos. It seemed Andrew Wyatt was even giving me some poses. I got carried away and kept taking photos. I’m very enthralled with this band in general. Towards the end, he seemed to break the pose he was making as soon as I lifted my camera (I don’t think bands like it when you watch their sets through your phone screen).

He kept a great and electrical energy the whole time; this band is so cool, Pontus Winnberg is my favorite.  The drummer, whose name I can’t find, had the key to my heart. the other band member, I can’t find his name either, absolutely stole the show with his sick licks. He was not regular bandmate Christian Carlson, he was not there on this particular night, however, he is a very important part of Miike Snow.

These guys are some real and professional musicians, which don’t always go hand in hand. I caught a glimpse of the setlist taped to the stage after the show and they had the encore they did on the set list. The encore song was “Animal”, a very popular song of theirs and I’m glad I got to see them play it.

This music definitely does not look easy to make happen every night sofor that, I thank you, Miike Snow. I can tell this band has made a real difference in people lives for the better. I’ve been a Miike Snow-Flake for a while now, it’s absolutely great music for dancing out the feels. Overall, a stellar end to the Ogden Twilight concerts.

 

New Shack- Soundcloud

Klangstof- Spotify

Miike Snow- Spotify

 

 

 

Young the Giant’s Home of the Strange Concert

On January 2011, the song “My Body” hit the airwaves and entered this generation’s collective consciousness. The song was very energetic and catchy. It was one of those songs that made you want to get up and dance or shout along. For starting indie-rock band Young the Giant, they never thought they would make it big. Little did they know that they would be a bigger band than they had ever imagined.

From the early days of their self-titled album to the current Home of the Strange, Young the Giant has always been a favorite band of mine. Each of their albums has an undeniable charm that has matured the more they write music. I was constantly on alert for when they would tour since the release of their newest album. There was no doubt in my mind that I would go, especially considering it had been three years since they last came. Once the dates were announced, I was able to get a ticket for the, no surprise, sold out concert.

I could tell this was going to be a big show with the amount of people bustling everywhere. The densely packed crowd stirred with commotion as they awaited the appearance of the main event. The stage was decorated with flags and the backdrop of Young the Giant’s new album. As I reached to get my phone from my pocket, the lights shut off and I was pushed forward by the current of fans eagerly wanting to inch closer to the stage. It was time.

The band had appeared and opened with the heart pounding, rock-ridden “Jungle Youth”. Each guitar strum and beat of the drum packed a punch. Sameer Gadhia, front man for the band, may have kept a bit of a poker face throughout the show, but his dance moves truly reflected his excitement for performing.

Young the Giant have quite a diverse repertoire that range from rock heavy songs like “Somebody to Believe In” to more soothing ones like “Titus was Born”. They easily transitioned from one to the other without having it seem strange or out of place. Songs like “Elsewhere” and “Art Exhibit” provided a nice, tranquil atmosphere that provided for a more intimate performance.

I couldn’t help but think how extremely talented each of them were as they played songs like “Cough Syrup”, “Mr. Know-It-All”, and “Mind Over Matter”. Payam Doostzadeh on the bass with a calm eloquence. Jacob Tilley and Eric Cannata on the guitar with astonishing dexterity. Francois Comtois drumming with smooth swiftness. And Gadhia not only had an impressive control over his voice, but a remarkable skill on various other instruments.    

They closed the show with “Home of the Strange”, where the whole band let loose and hopped from one side of the stage to the other. As they walked off the stage the crowd had become louder than they had ever been. Ears were ringing as we all enthusiastically cheered for an encore. It was not a wasted effort as Young the Giant returned to play three more songs.

“Amerika”, “Silvertongue”, and “My Body” brought out different excitement levels for both the band and the audience, increasing with every song. They brought an extra cheeriness to “My Body” as the entire crowd bounced to the highest of their abilities.

The show was exceptionally memorable and spirited. While I can recall many parts that were unforgettable, the one that catches my attention has to be when they played their song “Firelight”. This song mainly puts its focus on soft guitar string plucks and Gadhia’s airy vocals, but introduces some subtle drum beats towards the end. Gadhia requested that the audience take out their phones and lighters when the drums come on to light the venue. The dimly lit area transformed into a room as bright as a spotlight. It felt magical.

It’s no wonder that the Young the Giant show was sold out. They managed to play the entire Home of the Strange album plus some favorites from prior albums. There was such a joyous energy that rippled from the stage to the very last person in the back of the crowd. They played an incredible show that was worth going to despite being sick. I congratulate Young the Giant for how far they’ve come and I can’t wait to see what’s to come of them.

Concert Review – Mr Little Jeans

There was a palpable excitement in the air as the crowd, myself included, in Kilby Court anxiously waited for Mr Little Jeans to appear. The crowd huddled around the stage both to get a good view and to warm up from the frigid night. Some decided that the best view was actually outside looking in through the window. Everyone started to cheer when the background music turned off and the lights started to dim. The time, albeit a little late, had started.

Norwegian born singer Monica Birkenes, better known as Mr Little Jeans, is as graceful as she is talented as she hopped onto the stage with her black dress and green bomber jacket. Her performance on November 18 proved that as she playfully danced across the stage while singing her beautifully composed songs. Her name had been on my radar since I had discovered her cover of Arcade Fire’s “The Suburbs.” She took the wonderfully cheery song and transformed it into a slightly ominous, electric ballad. From that point on, I was drawn to the “electro-pop diva” and her dreamy, synth-pop tunes.

There was a good mixture of old and new as Birkenes performed hits from her debut album Pocketknife and songs from her latest EP F E V E R S. She brought the spunk on “Valentine” as she swiftly hit the high notes in the chorus. Everyone started moving the second they heard the hip and groovy opening drum beats of “Lady Luck.” Birkenes’ vocal talent was truly showcased in “Fever” where her airy vibratos echoed through the audience.

You can tell Birkenes was born to be a performer as she commanded the stage. She danced in a delicate matter as she skipped from left to right on the somewhat cluttered stage. With a venue as intimate as Kilby Court, it’s easier for artists to interact with the audience during shows. Birkenes took full advantage of this as she tried to talk to her audience before, sometimes during, her songs and even asked for assistance in singing one of her songs. During “Rescue Song,” she jumped off the stage and asked many in the crowd to hum the background melody for her. Eventually she found her gal and she all but exploded from happiness watching this girl hum along.

Despite being a relatively short set, about under an hour, there was no shortage of entertainment. After the show, my friend and I decided to visit the merch table because I had wanted a poster. Unfortunately, there was no poster, but about two minutes after I had had entered the merch area the leading lady herself appeared. Her bubbly personality that was previewed on stage was just as evident as she autographed memorabilia. Birkenes is a kind soul with a smile that can go on for miles. Meeting her was a pleasure and her concert is one I’m sure I won’t forget.

Retrospective: Gang of Four

I remember the first time I heard the album Entertainment! by Gang of Four. The first thing that really hit me was the jaw dropping production. In a sea of reverb and echo ridden albums in Post-Punk, Entertainment was dry as a bone. Aggressive and fearless, Entertainment! rips through your comfort zone with trebly compressed guitar attacks, rolling bass lines, and sharp political diction. Within a month of hearing it, I owned the record and it quickly became one of my favorite documents of the Post Punk era.
On October 28, 2016, we have an incredible opportunity. Gang of Four will be gracing Salt Lake City at In The Venue (219 South 600 West, SLC). The current lineup includes the original guitarist/songwriter Andy Gill along with three new members. The band is currently touring with The Faint, who will also be at the SLC show. A good friend of mine just saw them on this tour last week in Chicago. He described Andy as “mesmerizing”. He said he could tell those in the audience who were there for The Faint were equally transfixed on the sound and essence of Gang of Four. Gang of Four influenced (and continues to influence) generations of bands.

Kurt Cobain sited Entertainment! in his top 50 favorite albums of all time, Flea from Red Hot Chili Peppers sites their bass lines as some of his favorite of all time, and even local SLC heroes Foster Body were heavily influenced by the band’s work. This may be one of the last chances to see Andy Gill and Gang of Four. If you’re a fan of rock n roll at all, I strongly urge you to come see one of the world’s greatest forgotten bands.

You can purchase tix here: https://www.24tix.com/event/99290180/the-faint

 

-Josh Price

Local Natives – Sunlit Youth

On August 8, 2014, Local Natives took the Twilight Concert Series’ stage and performed to their heart’s content. I remember the day like it was yesterday: the crowd was cheering, the lights on the stage were a calm blue, and my friend and I danced and sang along to all the songs they played. It was a great concert only made better by the announcement that they were already working on new material for their third album. Fast forward two years later and they have finally released what I had been waiting for: Sunlit Youth.

Local Natives got their start in Silver Lake, California. Right out of college, the band wasted no time to start working on their first album. Their debut album Gorilla Manor was well received and set the stage for the potential the group has. From Gorilla Manor to Sunlit Youth, they have significantly matured. This album is not as charismatic as Gorilla Manor, but is much more optimistic than their emotionally driven second album Hummingbird. The lyrics have a more profound impact, addressing issues that are prominent in this day and age, such as telling the younger generation they have a voice (Fountain of Youth) to advising people to live in the moment (Past Lives).

The album opens up with the enthusiastic song Villainy. It is a grand departure from the somber mood of their second album to a livelier, joyous tone. It is immediately evident that they were not afraid to take some risks because of the heavy synths that loop from start to finish. In a way, it feels like they wrote a love letter to their hometown with the lyrics, “Mine is a chrome palace/Lost in Los Angeles/I know that I’ll make it through.”

Midway through the album, we get what is unarguably the most distinct and experimental single the band has ever produced with Coins. While still sounding like a Local Natives song, it veers away from the indie rock feel they usually have to a bluesy vibe. Singer Taylor Rice serenades the listener with a soulful voice while the prominent chords of the guitar play in the background.

Jellyfish has to be one of my favorite tracks on the album. Its hypnotic melody is captivating with its tribal beating drums, elegantly contrasted by gentle chimes. Rice’s soothing voice sings a story of love to the listener as he begins to describe how unexpected falling in love can be, “Took the wrong train and I fell/Head over heels in a moment.” This instantly shifts to the downfall of a relationship and how it equally can catch you off guard. The pain of heartbreak can be relatable to many people, however, the song still has a sense of positivity to it as if to assure people that everything will be okay.

Local Natives are currently on tour and will be performing on September 22nd at The Depot. Doors open at 7 p.m.