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Tuesday, May 13, 2008

Tonight in Music: Atmosphere, Foscil, Collie Buddz, the Dirtbombs

posted by on May 13 at 11:00 AM

slugillo.jpgIllustration by Kyle T. Webster

Atmosphere are playing the Showbox SODO tonight with Abstract Rude and DJ Rare Groove. Michaelangelo Matos interviewed Slug in this week’s paper. He talked about social networking websites, chewing on rubber bands, and how his new record is probably not better than Vampire Weekend’s. An excerpt:

Why should we care about the new Atmosphere album? What makes it better than, say, Vampire Weekend?

I highly doubt it’s better than the new Vampire Weekend. My goal is to continue not to disappoint the people who have offered us support in the past. I don’t care if you like me better than Gnarls Barkley or Vampire Weekend; I’m trying to ensure that I make that family stay together for as long as I can. I’m 36 this year; I’m over the whole concept of blowing up and being a buzz band. Things are moving good and I’d like to focus on how to maintain that. It’s not what the distribution company wants to hear, but that’s how I entered my relationship with them. Personally, I don’t care about making a record everybody gives five stars, or all the bloggers say is great, or isn’t great. All I care about is the core audience is challenged, as well as not disappointing them.

Here’s the video for “Guarantee” from When Life Gives You Lemons, You Paint That Shit Gold:

From this week’s Up & Comings:


Foscil live at BLVD Gallery, 11/07

Foscil, Specs One, Obelus, DJ Greg Skidmore
(Chop Suey) In 2006, the local band Foscil and the local hiphop producer Specs One put their musical minds together and came up with an EP, Collaborative Efforts Volume 1. Released by Fourthcity, the recording contained a terrific mixture of late-rock exhaustion and the “more dusty than digital” sound of underground hiphop. The beats were slow, the sonic effects dreamy, and the zone that the bass occupied was somewhere between the dead of night and the living lights of the day. One track was led by the funereal melancholy of a Fender Rhodes, another distorted by a sick series of scratches that shimmered and vanished in the slow depths of the beats. Altogether, the fusion of the musical forms (hiphop, late rock, downtempo, jazz) was convincing. There must be a home in the world for this new kind of music. CHARLES MUDEDE

colliebuddz.jpg

Collie Buddz, DJ Collage, DJ Element
(Nectar) More than most recent dancehall breakout/crossover stars (Seans Paul and Kingston, et al.) Bermuda-raised singer Collie Buddz has retained an absolutely fervent fan base among die-hard club reggae fans, even as his pop star has been on the rapid rise. Though his songs travel fairly well-worn reggae roads (his breakthrough “Come Around” joys in the reaping of the weed harvest, while his dance hit “Mamacita” has become the staple soundtrack for slow-wind contests worldwide), ultimately he isn’t nearly as musically adventurous or dimensional of content as other recent reggae champs like Damian Marley. But if you go to any reggae night at any club in most any city on earth, you will hear Buddz, and his songs will set the air horns trumpeting. SAM MICKENS

Watch the video for Collie Buddz’s “Come Around.”


The Dirtbombs - “I’m Through With White Girls”

The Dirtbombs, Dan Sartain, Terrible Twos
(Neumo’s) The Dirtbombs are now a staple, right; they’re “classic” post-’90s garage rock. But, as with most contemporary garage bands, they REALLY don’t resemble the garage no-talents of the ’50s/’60s; to me it’s kinda like how pop-punk ain’t actually punk. I know, in their case, it’s NOT a huge deal as the Dirtbombs have proven writing great, fun songs and “experimenting” is what counts to THEM, so even as they evolved from trad garage they are committed to themselves, not nostalgic cliché. Fine… but in the late ’90s, the garage SOUND went from cheeky kids playin’ R&B to “high energy” MC5, (gulp) AC/DC riffs loaded with pop hooks, and Rezillos-style booming, ultra- clean production. It’s weird, the pop bigness sucked out garage’s soul… almost like how young country killed traditional C&W. MIKE NIPPER

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