Tonight Tonight in Music
posted by February 15 at 14:01 PMon
Six Organs of Admittance, I’m a Gun, Climax Golden Twins
(Sunset) Long gone are the days when Ben Chasny (aka Six Organs of Admittance) crafted limited-pressing, four-track acoustic recordings in his Arcata home. His latest studio album for Drag City, Shelter from the Ash, continues to augment acoustic folk with electrified experimentalism, resulting in a fuller sound that’s still a little dirty around the edges. “Alone with the Alone” kicks off with fried guitar noodling; “Strangled Road” and “Jade Like Wine” are parched, moonlit ballads; “Coming to Get You” is lazy, velvet psychedelia. “Goddess Atonement” is an instrumental passage that shifts from cascades of steel fingerpicking to an electrified octave lead and then back. Windmilling rock bombast eventually breaks the airy strum of “Final Wing.” The title track features a massively flanged solo. “Goodnight” is the dreamy, quiet coda. ERIC GRANDY
Sing Sing: Blaqstarr, DJ Paul Devro
(War Room) For most everywhere beyond Baltimore city limits, Blaqstarr is the face of “native” club music, a genre virus of bass-as-all-fuck breakbeats and quickly looping, mostly illicit cut ‘n’ paste pop samples. If you haven’t heard the monster “Hands Up, Thumbs Down” hook or the endlessly remixable “Shake It to the Ground”—Diplo, Switch, Claude VonStroke, and Drop the Lime have all had a turn—in a club yet, you’ve at least caught whiffs of the watermark beat in everything from M.I.A. and Diplo to Bonde do Role and Young Leek (“Jiggle It”). Blaqstarr, by his lonesome, is on the gentler side of things than the stuff that rattles windows in B-more, balancing the bang—gunshots? snare-capped bass?—with his own high-pitched, seductive rhymes and singsong soul breaks, the latter of which really should be subclassified as a date-rape drug. MICHAEL BYRNE
From this week’s Bug in the Bassbin—DJ Starski’s playing at Electric Avenue at CHAC:
While it lasted, the rise in ghettotech’s cultural stock gave Detroit DJs like Starski the opportunity to act as ambassadors for the genre. Starski, half of the duo Starski and Clutch, produced “Belle Isle Players” and the CD Don’t Stop ‘Til You Jit Enough, two hallmarks of the sound. He’s also been involved with labels like DJ Godfather’s Databass Records and Twilight 76. Starski’s regarded as a favorite in “the D,” so if anyone’s got the pedigree to show where electro-bass has gone since the spotlight moved away, it’s him.
And suggested from the Score:
LINDA KLINE LAMAR
What compares to the viola’s mellow, sometimes morose, tender tone? Certainly not the flashier violin. For this solo concert, Kline Lamar, a Boise-based violist, plays Joan Tower’s “Wild Purple,” Max Reger’s Suite No. 1 in G minor, and “Chahagir” by Alan Hovhaness. Brechemin Auditorium in the Music Building, UW Campus, 685-8384, 7:30 pm, $10.
The sonic equivalent of “historical romance” novels, this singer/guitarist plays unabashedly romantic music rooted in flamenco and classical guitar. Blessed with 1920s matinee-idol looks (a pouting gaze and goatee worthy of Hollywood’s classic pirate movies), Feriante frames lyrics of love, longing, and rarefied lust with swooning strums and florid picking. Recital Hall at Benaroya, 200 University St, 292-2787, 8 pm, $35.
SEATTLE IMPROVISED MUSIC FESTIVAL
The second weekend of North America’s longest-running improvised music festival has a slew of musicians including Greg Sinibaldi (Fri Feb 15) cult Downtown trumpeter Lesli Dalaba (Sun Feb 17 at Gallery 1412), first-call percussionist Greg Campbell, and yours truly. Stéphane Rives, an astonishing French improviser who compels the soprano saxophone to make starkly minimal electronic music, performs all three nights. Fourth-floor Chapel Performance Space, Good Shepherd Center, 4649 Sunnyside Ave N, 8 pm, $10—$25 sliding-scale donation.