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Monday, July 7, 2008

Tonight in Music: Ratatat, Matmos, Kate Simko, Trouble

posted by on July 7 at 10:53 AM

Matmos - “Exciter Lamp and the Variable Band”

From Stranger Suggests:

Matmos at Triple Door
Avant-electronic duo Matmos creates high-concept albums from digitally buggered audio samples (in 2001, they made a record based around sounds from cosmetic surgeries). Their latest, Supreme Balloon, was composed entirely without microphones, using only the direct input from an imposing assortment of vintage modular synthesizers. Live, Matmos might process sounds from such sources as a contact mic attached to a balloon, melting ice, or hair clippers as they shave a fan’s hair into a Mohawk. Genius. With SF noise makers Wobbly. (The Triple Door, 216 Union St, 838-4333. 8 pm, $20, all ages.) by Eric Grandy

Read Tony Ware’s review of Matmos’ new album Supreme Balloon here.

And after the Matmos show, Donte Parks suggests you head to Nectar for Kate Simko. From this week’s Bug in the Bassbin:

The last time Kate Simko appeared in this space [June 28, 2007], the Chicago techno producer was just getting her name out as a solo act after a string of well-regarded releases as one half of Detalles (along with Andres Bucci). In the year since, she’s been on a tear, touring damn near everywhere, and solidifying her place on Ghostly International’s Spectral label roster with the release of the EP She Said in March. In support of She Said, Simko is the current headliner for the ongoing Spectral Residency tour, where her live set continues to wow audiences (check the recording from Spectral’s Winter Music Conference party if you need proof). The Residency arrives in Seattle on Monday at Nectar, and it’s definitely where you’ll want to be after Matmos lets out.


Also, Ratatat is at Neumo’s. Kurt B. Reigley interviewed the band in this week’s music section. An excerpt:

In the beginning, that easygoing attitude showed. The stripped-down grooves and surging fuzz guitar of their 2004 eponymous debut sounded good on the dance floor, but the band struggled to sustain interest live, where their mellow-bordering-on-static performances—no seam-splitting choreography or mind-blowing special effects, just two dudes playing their instruments—did little to enhance the material.

But Ratatat quickly adapted. The writing of their second album, the markedly improved Classics, was informed by what did—and didn’t—get live audiences pumped up. With its more defined sense of melody, Classics also confirmed what their self-released remixes of hiphop tracks by Jay-Z and Kanye West hinted at: Their slinky sound packed more punch when anchored by a focal point.

With their latest album, LP3, the duo continue to explore new ways of making an impact. From fluid Spanish guitar licks on “Mi Viejo,” to the courtly, A Clockwork Orange–style synths prancing through “Dura,” the album’s 13 tracks support Stroud’s assertion that even though they work sans vocalists, they definitely hear voices. “I like to think of the guitar parts as singing, like listening to the backups on a James Brown track will give me ideas.”

Read the whole story here.

Ratatat - “Mirando” from LP3

And lastly, some metal:

Trouble - “At the End of My Daze”
Trouble, Danava, Witchburn (El Corazón) Portland’s Danava wear their guitars high and their hair long. They’re not as demonic as shred-tastic Kemado labelmates Saviours, but they still summon something evil. Though they merit the obvious comparisons to early Sabbath, Danava’s sound is lightened up by an even heavier dose of the acidic, loose bite of psych. Like Danava, Chicago’s Trouble also nod to Sabbath’s dark side. Since the late-’70s, Trouble have been pumping out doom metal, and their sound comes with everything you’d expect from the genre—head-bang worthy booming bass, wicked guitar solos, and yarled vocals about sin, darkness, and chicks who want to die. And hey, Dave Grohl is a fan. Through the years they’ve had a couple breakups, reunions, and lineup changes; last year’s Simple Mind Condition is their first studio album in over 10 years. Megan Seling

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