Tag: Margaret Glaspy

Little Dragon guards a treasure hoard of beats and drama, but they are quite willing to share.

Always a special treat to be back on the air after missing a show. This is the third show in a year that I’ve started with a Fugazi cover, in this case Failure taking on “Waiting Room” with their trademark grinding, implacable approach. The power of these songs, its distinctive musicality and lyrical content, is undiminished in the hands of any band bold enough to take on the material. Tonight also featured the confluence of several loyal listeners, including James in California, Underdog in Georgia, and Charley who is on South Korea time and got to take benefit from the time zone.

When I hear the sounds of Islands, I am reminded of sparkling diamonds and shattered glass.

Something about Margaret Glaspy’s voice makes me want to hang out and listen to her laugh.

I meant to write the notes for this show sooner than a month after the fact, but travel plans got in the way and here I am struggling for an intro. I can tell you that hearing Sparklehorse take on Robyn Hitchcock and the Egyptians’ “Listening to the Higsons” for the first time, mere weeks ago, felt like someone became obsessed with the same cassette as I did thirty years ago, but actually got around to letting the hen out.

In the last few years, John Lydon, once known to the world as Johnny Rotten, has been in the news for a variety of reasons, none of them related to his music, most of them leading to unfortunate public judgements. His band’s new album makes their name Public Image Ltd a handy reminder, as it serves up a take on society more in tune with their past work than the expected yelling-at-clouds. Elsewhere! To the listeners voicing strong opinions about the adorably shrill kids’ story that ran at the top of The Final Hour — your comments were passed on to Management and that short chunk of audio root canal is gone. Well done!

Revisiting songs from their debut 2011 EP and various favorites from a ten-year career, this sunny folk-pop ensemble is buoyed by brightly colored harmony balloons dangling deathly sharp unexpected hooks. Listen with care and often.

There are many two-genre combos that will fit on Blitzen Trapper like a tailored suit, but my current favorite is “country psychedelia”.

If you’re wondering if Acid Tongue is about having a particularly caustic wit, or about some sort of psychedelic dosage, the answer is yes.

If a mermaid learned to play surf guitar, she could give Olivia Jean some exciting competition, at least for a little while.