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In the course of ten years, the albums of Six Organs of Admittance have chartered explorations across a multitude of genres and styles, all driven on by a quiet yet uncompromising strength.

With the release of “Shelter from the Ash,” Ben Chasny’s distinctive mixture of heavyweight post-rock epics and finger-picking folk returns once more. However, rather than speak in terms of development or maturity, Chasny insists that there’s no reason why the formula should change from one release to the next.

“I think it’s a myth that records have to progress a certain way,” he says. “I don’t think there’s been a step A to step B for me. It’s just about how I feel at the time, which is always changing. The new album is a good example of not sticking to a trajectory of continuation…because I just don’t do records like that.” Continue Reading »

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Few bands can make as immediate an impression as So So Modern. With four hooded guys flailing about the stage in a flurry of colour, swaying between guitar-driven dance music and a chorus of fizzing keyboards, this is a show that demands energy and generates enthusiasm. To flawlessly recreate the same dynamic over 200 times a year, however, requires a lot more than just an unwavering will to party. Continue Reading »

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[audio http://www.filefreak.com/pfiles/50153/03%20Brother%20Peter.mp3]

Mumblin’ Deaf Ro – ‘Brother Peter’

Simple, rustic, beautifully narrated, ageless and definitively Irish…

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Lesley Gore – ‘No Matter What You Do’

The most commercially successful solo singer to be identified with the girl group sound, Lesley Gore hit the number one spot with her very first release, “It’s My Party,” in 1963. Produced by Quincy Jones, who fattened the teenager’s sound with double-tracked vocals and intricate backup vocals and horns, she reeled off a few more big hits in 1963 and 1964, including “Judy’s Turn to Cry,” “She’s a Fool,” “You Don’t Own Me,” “That’s the Way Boys Are,” and “Maybe I Know.” She wasn’t the most soulful girl group singer by a long shot, but she projected an archetype of female adolescent yearning. Her best songs survive as classics, particularly the irresistibly melodic “Maybe I Know” and “Look of Love” (both written by Ellie Greenwich and Jeff Barry) and “You Don’t Own Me,” an anthem of independence with a feminist theme that was considerably advanced for early 1964. Continue Reading »

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As the saviour of dancing concert-goers everywhere, Dan Deacon’s live shows are all about leaving self-awareness at the door. Beginning what initially feels like an awkward drama workshop, Deacon will typically coax the surrounding crowd into joining him for some warm-up exercises. Yet what follows in the next hour is a transformation so pronounced that no one hesitates to grab a lyric sheet for a sing along or to participate in a free-for-all dance contest. Continue Reading »

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