Music for a Quiet Morning

Jessica Pratt – Quiet Signs

Jessica Pratt has recorded three full-length albums, and each of them is gentle, hushed and stark. They’re all quite beautiful, though her third, Quiet Signs, is the most maximalist of the three, which isn’t really saying that much. Most of these songs still mostly comprise her voice and acoustic guitar, with occasional touches of piano or light percussion. It’s great music for rising with the sun and enjoying a cup of coffee before telecommuting or, if you prefer, going back to bed.

Music for Motivation

Kaleta and Super Yamba Band – Médaho

I don’t know about anyone else, but music helps motivate me a lot better than, say, listening to a podcast. Don’t get me wrong—podcasts are fine, but they can be distracting when I need to get down to business. So sometimes I’ll opt for the loudest most intense music at my disposal, but more often than not, I need something with a groove. Benin-born Kaleta and his New York based Yamba Band most certainly have groove. Theirs is a blend of Fela Kuti-style Afrobeat, James Brown’s funk and King Sunny Ade’s juju guitar, and it’s got groove for days. I don’t know about you, but I feel ready to take on whatever comes my way (which is just email and takeout, I suppose).

Music for Daydreaming

Jay Som – Anak Ko

A little distracted? That’s OK! Distracting yourself or even just zoning out for a bit is entirely permitted. While you’re doing this, put on the new album by Bay Area artist Jay Som, which is a lush and gorgeous indie pop record full of dreamy melodies and dense arrangements.

Music for In-Home Happy Hour

Ratboys – Printer’s Devil

Working from home means that the lines between work and time off are going to be a little blurry, which is why it’s important to set some boundaries for yourself. Choose a time to “clock out”, and have yourself a stay-at-home happy hour. And you’ll need some music for that, of course. I recommend the new album by Chicago’s Ratboys, whose style of indie rock has the kind of energy and upbeat melodies that feel appropriate for a little treat-yourself time after work.

Music for a Living Room Dance Party

P.E. – Person

My favorite album of the year thus far is one that’s probably going to keep me grounded for a little while, just because it’s so much fun. P.E. is a Brooklyn band that features members of Pill and Eaters, and their sound is somewhere between weird, no-wave industrial and super-catchy synth-pop. So while some of their sounds are a little experimental, songs like “Soft Dance” and “Pink Shiver” are basically perfect pop singles. You can’t go out to dance right now, so put this on and do it in your living room.

Music for Insomnia

Caribou – Suddenly

I should clarify that when I say “Music for Insomnia,” this probably isn’t music that will get you to sleep. To be honest, I’ve always had trouble sleeping with music on. Some soothing voices? Perhaps, but not music. But the new Caribou album, while riddled with beats and samples, is to my ears very much a late night album, and it’s something to keep you company if you’re up at night, deciding whether or not you should mix together all the types of cereal in your cupboard.

Music That Soothes (Without Being Too Sedate)

Four Tet – Sixteen Oceans

Perhaps you just need something to listen to that’s not too intense, not too gentle or sparse, just something pretty with enough energy to make you feel like a human being. Well, UK producer Kieran Hebden, aka Four Tet, is great at that. Most of his music has energy and momentum, but never veers into sensory overload EDM. And his newly released Sixteen Oceans is one of his prettiest to date.

Music for Meditation

Tengger – Spiritual 2

Most of us will probably need some time for meditation, to re-center ourselves, to find a moment of peace while things are a bit scary. Some would probably prefer silence, but if you can add music to the equation, then you should do so, at least that’s my personal take on it. Tengger is a South Korean group that makes epic and beautiful electronic music that tends toward the hypnotic. Perfect for your solitary moment of inner peace. Or yoga. That works too.

Music To Hear Just Because It’s Really Good

Moses Sumney – græ Part One

But do you really need an excuse to buy some good new music? The best reason is because we enjoy listening to it! And one album I enjoy a whole lot right now is the first installment of Moses Sumney’s græ. He’s releasing it in two parts, with the second installment coming in May. But even if it’s half an album, these 12 tracks are some of the most sonically inviting, emotionally powerful songs I’ve heard all year.But no need to stop there, spend some time on Bandcamp and stream new albums to find other music you might want to buy. It’ll make a musician’s day, and they could really use that right now.

Jessica Pratt

Samuel Richard

The post Music For Social Distancing appeared first on San Diego Magazine.

Admittedly, that last one is a little anachronistic, but it’s still true. Back in the ‘60s when artists like The Beatles, Jimi Hendrix and Cream were soundtracking a cultural movement, the sonic elements and chemical additives that fueled their music spread across the globe. Brazil had the tropicália movement, which paired guitar fuzz with samba rhythms and a message of protest against the military-led government. Cambodia had a thriving psych-rock scene in the ‘60s and ‘70s, which met resistance by the Khmer Rouge government, as told in the recent production of Cambodian Rock Band. And Mexico had Los Dug Dug’s, a fiery and exciting band of acid rock iconoclasts—and they’re still going.

Los Dug Dug’s earned their claim to fame by being the first Mexican rock group to sing in English (though they mostly sang in their native Spanish) and to also cover The Beatles. But all it takes is one listen to their fuzzy, epic psych-rock jams to understand their appeal. The best starting point for newcomers to the band is their 1973 album Smog, one of four albums released during their career, all of them well worth exploring. Smog, however, essentially comprises a back-to-back sequence of stellar rock ‘n’ roll songs, vintage in sound but featuring the kind of aesthetics that would no doubt appeal to listeners of contemporary artists like Tame Impala, Ty Segall and King Gizzard and the Lizard Wizard.

Take the title track, for instance, which is loaded with a raw, driving guitar sound but is even more notable for a very un-rock ‘n’ roll element: flute. It’s a delight to listen to, but true to the title, “Smog,” its themes remain relevant today, nearly 50 years later, with fretful lyrics about the state of pollution. There’s a heavier groove to “I Don’t Care (Yo No Sé)” that rivals early Black Sabbath in sheer, raw power, and “Cuál es tu Nombre” is, one of the catchiest rock songs of the era, whether or not you speak the language.

Now in their seventies, the members of Los Dug Dug’s are still stirring up a mighty ruckus, bringing their swirling, wild psychedelia to younger generations and new stages, many of whom weren’t even alive when the first wave of psych-rock drenched the globe in acid. (Like me—I was born in the ‘80s.) There’s no better time than the present to discover another chapter in one of rock music’s most significant stories. But, of course, there’s no reason to stop here. With more labels reissuing hard-to-find records from around the world in the ‘60s and ‘70s, and fewer barriers to finding them, there’s never been a better time to get an education in global psych. Los Dug Dug’s just happen to be an excellent place to start.

Los Dug Dug’s

Soda Bar

January 25

Other Recommended Shows This Week:

Raphael Saadiq, Jamila Woods (January 23, House of Blues): Raphael Saadiq is one of the best R&B artists of our time. Back in the ‘90s, he performed as a member of Tony Toni Toné, later striking a solo career of his own with even more impressive results. Albums like The Way I See It display how seamlessly he combines different eras of pop music—neo-soul with vintage ‘60s and ‘70s aesthetics—and his songs are simply a delight to hear. Get there early for Jamila Woods, who I wrote about in this space last year and who’s making some of the best music of any genre these days.

The Midnight Pine (January 27, The Casbah): If you’ve been going to see shows in San Diego during the past decade and somehow haven’t seen The Midnight Pine yet, you’re missing out. The band’s members are all involved with other projects, and if you’ve heard the upbeat punk-pop of vocalist Shelbi Bennett’s other band The Havnauts, the more spacious and earthy folk and Americana of The Midnight Pine might come as a surprise. But there’s a reason I named their 2014 album Buried as my favorite local album of 2014.

Fistfights With Wolves, Belladon (January 30, Music Box): Belladon is a San Diego band to watch, balancing intoxicating synth-pop songs with gorgeous vocal harmonies. And they’re celebrating the release of their debut album at this show, which also features progressive rock group Fistfights With Wolves. It’s a diverse lineup, but it’s guaranteed to be a thrilling night.

The San Diego music scene lost a beloved voice this week. Alberto Jurado, vocalist of Death Eyes, passed away due to heart complications, and his loud, lively presence will be missed. A fundraiser is being held at Small Bar on Sunday, January 26, to help his family with funeral and other unforseen expenses.

Get to Know the Wild Psychedelic Rock of Mexico’s Los Dug Dug’s

The post Get to Know the Wild Psychedelic Rock of Mexico’s Los Dug Dug’s appeared first on San Diego Magazine.

Looking Back at Soul Coughing’s ‘Ruby Vroom’

In hindsight, the ’90s were pretty weird. People tend to remember the decade’s music in terms of its novelties (“Macarena”), its heavily hyped trends (grunge) or the Spice Girls. But a lot of what was happening just under the mainstream radar was a lot more interesting. And big record labels with money to burn certainly thought so as well; in the wake of Nirvana’s massive success with 1991’s Nevermind, every company with seemingly endless A&R resources was snatching up every last indie artist without a contract. There were success stories, of course, but the market only had so much room for an alternative rock hitmaker. So for every Beck or Cake, there were dozens of groups like Royal Trux, Boredoms, or even San Diego’s own Drive Like Jehu, who simply didn’t write radio-ready anthems and likely weren’t all that interested in doing so.

There were some interesting exceptions, however, like Soul Coughing. In 1996, the New York band landed their own hit with “Super Bon Bon,” a sort of nonsensical, bohemian beat-poetry breakdown driven by an upright bass groove and frontman Mike Doughty’s off-kilter Dadaist lyrics: “Too fat, fat, you must cut lean/You gotta take the elevator to the mezzanine.” There’s no question why it was a hit—it’s an incredibly catchy song—but it’s certainly weird. Yet it’s got nothing on the band’s debut album, Ruby Vroom.

Released in the fall of 1994, Ruby Vroom introduced Soul Coughing at a time when samplers and drum machines were starting to supplant guitars in alternative music. The Beastie Boys, a hip-hop group, had become staples of modern rock radio while the breakthrough of Beck’s “Loser” early on in 1994 had spawned a number of soundalikes—Primitive Radio Gods, Forest for the Trees (who actually cowrote “Loser”) and Fun Lovin’ Criminals, to name a few. Soul Coughing emerged more as a parallel, their style a hybrid of beat poetry, jazz, hip-hop, and rock that doesn’t make a lot of sense on paper but is a hell of a lot of fun in your headphones. Take, for instance, the single “Screenwriter’s Blues,” a spoken-word narration of Hollywood clichés and ennui featuring a number of one-liners like “We are all in some way or another going to Reseda, someday, to die” and “I am going to Los Angeles to build a screenplay about lovers who murder each other.” Is it bizarre, perhaps too much so for a mainstream radio audience? Absolutely. But is it an absolute blast to listen to? You bet.

That’s true of the whole of Ruby Vroom, which turns 25 this year. I’m not sure how the album might sound to those who weren’t around the first time to hear it—without the context of the fairly absurd alt-rock explosion of the ’90s, it’s an odd one. But to these ears, it holds up well. The cartoonish Raymond Scott samples on “Bus to Beelzebub,” the free-association absurdities of “Casiotone Nation,” the surprisingly tender ballad “True Dreams of Wichita”—it’s all playful, innovative, and fun. A lot of other albums from the same era haven’t fared so well.

Mike Doughty is playing the album in its entirety on tour for its anniversary, and though I don’t ordinarily go for the album-anniversary concert gimmick, something about this one appeals to me. Perhaps it’s because Soul Coughing hasn’t and will likely never reunite, or that this album just hit me at the right time in my life. Maybe you just had to be there.

Mike Doughty plays Soul Coughing’s Ruby Vroom
Saturday, March 23
Soda Bar

Other Recommended Shows This Week:

Veronica May Band, Ariel Levine, The Havnauts (Casbah, March 22): Three different local artists with three different styles and approaches will be sharing the stage on Friday. The Havnauts just won a handful of San Diego Music Awards, and with good reason—they’re one of the best new bands in town. But headliner Veronica May’s been around awhile, and her bluesy songs about her own mental health struggles are both compelling and deeply affecting.

Stay Strange presents: A Night of Strange Music (Black Cat Bar, March 22): The title isn’t misleading at all. Local curator Sam Lopez has been putting together showcases of truly peculiar sounds for many years, and every time I’ve gone to one, I’ve walked away from them having been exposed to something new and unfamiliar, and had a really fun time. Open your ears and your mind and see what happens.

Foals (The Observatory North Park, March 23): In terms of contemporary alternative rock, well, it’s honestly not that different from the ’90s; you still hear a lot of Foo Fighters, for instance. But Foals is one of the few Big Indie bands that have kept my interest, thanks to songs with big hooks and an even bigger focus on richly layered atmospheric elements.

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