13&God- Own Your Ghost

If you thought you'd live forever, 13&God would like to remind you otherwise. On their second record together, and their first as 13&God in six years, the first thing you notice is how much Own Your Ghost dwells on the ticking clock. The whole album (which is still streaming for free here) covers a wide stance sonically, owing equally to The Notwist's multi-intrumentalism and Themselves' gritty sampling, but these sounds all revolve around recurrent tropes on death and old age that read like proverbs, from Marcus Acher's "These are troubled times, and so dip your scarves in armor.", to Adam 'Doseone" Drucker's "Fools like us will go nameless to death, bet.". But if Own Your Ghost is a reminder that we're all bound to a short timeline, it also shows us a group of people who recognize this, and answer it by living, exploring shamelessly while they are here.

Both bands can still sound familiar, but they benefit from each others' influence, and it's when their styles meet in the middle that makes this collaboration more than it's parts' sum. The Notwist can lean a little darker in front of Jel's MPC work and Doseone's nervous rapping, and Dose gets to stretch his singing voice out more in the context of a full band. "Armored Scarves" shows off the range afforded by this personnel bump, but Own Your Ghost constantly reaches into odd new places, shifting momentum and mood both between and within songs like fast standout tracks "Sure As Debt" and "Beat On Us".

Since 13&God's self-titled debut, Themselves released a fantastic mixtape, LP, and remix album. The Notwist has kept busy too, with their own LP The Devil, You + Me, a film soundtrack, and other side projects' releases. Despite this considerable output of energy from all it's component members, Own Your Ghost shows that there's plenty left. To call 13&God anyone's side project betrays how unique it is.

Own Your Ghost is out May 17th on Anticon records.

Yoni and Josiah Wolf (of Why?) at St. David's Episcopal Church

So Yoni Wolf sits at a grand piano and starts dryly rapping, his brother Josiah backing him up on a bass drum made of a guitar case with a tambourine taped to it. They start things out with a verse from their yet-to-be-recorded Why? album.

"Oh, to be born as anything but this...

...fruitless in the holster...

...it's scary how we always end up...

...it yields only drops like an unripe lemon...

...is your love but a ploy, like Bugs Bunny in drag?"

Soon the song veers from kick and rhyme into piano and croon, and a cozy group of a couple hundred people settled in for the last show from the Wolf brothers before they and the rest of the band that's a question go into the studio to record the follow up to 2009's Eskimo Snow.

"And he will always thirst like that. Yeah, he will thirst like that always."

New material was all over the hour-long set, but songs showed up from as early as 2005's Sanddollars EP, all performed in stripped down piano and homemade percussion arrangements, with Josiah picking up bass or guitar from song to song. The new stuff sounds new, but still fits into the Why? canon, equal parts dry wit and personal revelation (or narrative fiction), hip-hop cadence over acoustic guitar and beatboxing over piano making strange but intimate bedfellows.

It's got to be mentioned that the space at St. David's was visually and acoustically gorgeous, so definite thanks go to them for offering up their room for the evening. Also, the biggest ups to Transmission Austin, for putting the whole thing together. And of course thanks to the brothers Wolf, and the rest of the Why? clan. Thanks for a beautiful evening, and best of luck in the studio. Now I can't wait.

SXSW 2011 Highlights

Aaaaand we're back, what a week. The dust has settled, the tourists have mostly left, and downtown smells like pee, even in the parts that don't ALWAYS smell like pee. Shows were seen, and a few shows were missed, for reasons ranging from exhaustion to canine ocular trauma to gorgeous weather. I won't bore you, but here's some broad strokes.

Wednesday: Sumerian Records Showcase

This was the first actual show I sought out, mostly to see Tosin Abasi's outfit Animals as Leaders, but I'll get to that. Opening the show up was New York's Ultrageist, a forward thinking act specializing in idiosyncratic breakdowns and bizarre vocal textures. Vocalist Gabriel Perez at first brings to mind Glassjaw's Daryl Palumbo, but strikes out into his own sonic territory by using an array of delays, distortions, and octave pedals to warp his voice on stage in real time. Interesting stuff, I'm looking forward to more. These guys were followed by Tamworth, England's Structures, leaning both melodic and death metal, but rarely at the same time, making dynamic songs out of crushing verses and the occasionally merciful break.

And then, Animals as Leaders. I was impressed by AAL's self-titled debut when it came to my attention last year, for a few reasons. Despite being something of a 'virtuoso' album, Abasi actually writes songs that have their own merit, instead of just being a framework for his shredding. There's long been a battle in heavy music over who can tune lower, and while AAL's low-E tuned 8 string guitars are certainly front runners in this, it's the way Tosin Abasi manhandles the damn things that really sets him apart. Rather than just relying on competitively low notes, he really stretches out into the space an instrument like this affords, utilizing broadly spaced intervals and chord voicings, and occasionally being his own bass player, using his low string for percussive patterns and slapped lines, while his right hand taps melodic runs on the tree trunk of a neck his guitar has. On AAL's self-titled debut, all strings were played by Abasi, with drum and synth programming handled by Misha Mansoor (guitarist with fellow djent O.G.s Periphery), but the album's striking elements translate well live, and rhythm guitarist Javier Reyes and drummer Navene Koperweis (who is an absolute monster on his kit) enhance the sonic landscape, rather than dilute it. Tosin Abasi and company make music that is more than just skillful or interesting, it really is beautiful. This right here is Mr. Abasi solo, playing "Wave of Babies", a digital single released shortly after AAL's eponymous debut.


Thursday: Friends of Friends Showcase

I was at this thing all damn day. Thankfully not an official SXSW event, but a free party hosted by Friends of Friends Records, Barcelona on 6th evolved from a sparse early afternoon gathering to a heaving molasses of bass over six short hours. A varied set from DJ Sodapop (aka Anticon label manager Shaun Koplow) opened things, followed by a brief set by Baths. After Non Projects labelmates Asura and Anenon, Shlohmo took the stage and delivered a set with an energy his albums don't really indicate, making good use of Barcelona's impressive system. The next big highlight was Ernest Gonzales' masked luchador alter-ego Mexicans With Guns (pictured below left), a throbbing ghettotech Hyde to Gonzales' shimmery Jekyll.

Closing the party was beat scene lifer Daedelus (pictured right), whose recent shows have been seamless club sets, fully of glitched highs and huge modulating basses. Definitely one of my favorite days of last week.

Saturday: Buck 65 @ M for Montreal Party

I've waited to see Buck 65 for a long time, and after a handful of badge-only shows through the week, he played at the free M for Montreal party, accompanied by the talented vocalist Jenn Grant. Combining Grant's sweet voice with Buck 65(aka Ricardo Terfry)'s gravelly but thoughtful raps and live turntable work, the duo offered reworkings of oldies like Roses and Bluejays, and new songs (such as Paper Airplane, shown here in an early incarnation circa 2009) from this year's 20 Odd Years, touted as "The most beautiful hip hop album ever made". Terfry is a pleasure live, as interesting on stage as on his numerous records. Check out the album version of Paper Airplane and other new songs at Buck65.com.

And that was the gist of things. Not by any means a full list, but a few high points from SXSW 2011. So here I am, sore and sunburned, exhausted in the best way possible. Back to work everyone.

July 22 2010 Points of Some Interest

Every Time I Die guitarist Keith Buckley hates "glow-pop" and he wants you to know it.

Comic legend Alan Moore teams up with Anticon cofounder Adam "Doseone" Drucker, multi-instrumental Fog frontman Andrew Broder, and photographer Mitch Jenkins for the massive Unearthing, on Lex records.

Baths @ Club Deville RECAP & Cerulean

I'm often a cynical fuck. It's true. Perhaps partly because of this, I enjoy a fair number of artists with a similarly dim outlook. It's easy for people to relate to each other through shared negativity, because it is easy to say something is stupid, and hard to boldly say something is good. This is because it hurts when people say what you think is good is, in fact, bad. So Baths has a new album out titled Cerulean, and this pale blue plastic disc has been making me happy since I got it. It's good. I've laughed out loud several times while playing this album and I like it. The debut album of Will Weisenfeld's newest moniker has got me singing along with samples of grade school cheerleaders, and little kids offering valuable information about animals ("We're elephants, we LOVE giraffes!"). Cerulean's beats stomp at times and race at others, but all carry a pop-minded lean and a general happiness and optimism. Amidst all this, all but his most relaxed tracks hit HARD. Live, Baths performs his vocals while manipulating his beats in a stage show that translates the giddy energy of his songs into a seamless live set that invites both head-nodders, and any dance move you can think of. VJ David Wexler aka Dr. Strangeloop was in attendance at Deville to provide his video interpretation against the club's limestone backdrop, romancing the crowd's retinas as well as their eardrums. My shitty camera cannot do his visual performance justice, but you can see his work here. The next day Strangeloop played his own headlining audiovisual set at Deville, which was a twitching lunatic next to Baths' bounding youth, drilling the crowd with feverish compositions that brought to mind Venetian Snares. My taste for dark music was more than appeased. Even so, I thank Baths for making the music he does. Cerulean's going to keep spinning over here, I'm not yet ready to be pissed off again. I... I want to sing about giraffes for a while longer.

4.5 / 5 stars