In unfortunate timing, this is my *37th* article for this website. Just one off, huh? Anyway, indie-psychedelic band 36? have put out a new single titled “i don’t want to go out tonight”. This is the fourth single to come from the Calgary-based group this year, after “wasted”, “FEERS”, and “ART”; with their latest LP being 2022’s Naturally. Their sound is an eclectic mix of sources, with influences ranging from hazy alt-pop and art rock, and comparisons to bands like Animal Collective or even Bleachers. Many of their lyrics, from the band’s producer and songwriter Taylor Cochrane, deal with personal subjects awash in sincerity and emotional qualities.
“i don’t want to go out tonight” is more laid-back than their more recent singles, with an indie-folk sound led by Hawaiian-sounding acoustic guitar and a breezy beach atmosphere. It’s very sweet sounding with a heartfelt performance from Cochrane and cutesy backing vocal harmonies. It also features a wonderfully abrasive guitar solo characteristic of a lot of their work, though it still fits against a different musical backdrop. Lyrically, it’s a tribute to introversion and taking time for yourself even when it means avoiding energy-draining social activities. The lyrics and the music match perfectly, creating a vibe throughout the track that’s cozy and comforting. 36? have crafted a great summer single in “i don’t want to go out tonight”, a song that’s drenched with both positive energy and relaxation.
The band is currently on tour throughout North America, with more music still in the works.
Award-winning musicians Madison Cunningham and Andrew Bird have taken their mass of individual talents and teamed up to form the folk power duo of Cunningham & Bird. They have been taking the festival circuit together, bringing a sense of calm and power to each set. Eric Tsurumoto captured some of their magic.
Having DC-based bands Pretty Bitter and Flowerbomb join forces together on a project weirdly makes sense, which is why their split EP Take Me Out was so exciting to listen to. I’ve written about Pretty Bitter before (here, in a review of their single from January, “Roadkill”), and listening to a handful of Flowerbomb’s songs showed a lot of similarities between both bands, in terms of music and lyrics. Each has an indie sound rooted in throwback alternative rock trends, with obvious influences from grunge and shoegaze. Their songwriting focuses on raw, personal lyricism that draws on the backgrounds and experiences of their members, and the chemistry between each performer in the band is clear in every song or show.
Evan Weiss handled the production of the EP, which is comprised of five songs. It has two original songs from each band and a closer written and performed by both. As Take Me Out starts, it’s apparent that the tracklist was ordered so the songs complement each other. “Never Better” by Pretty Bitter and “Nothing to do with me” by Flowerbomb, the first two songs respectively, have obvious musical similarities and play to the strengths of both artists. Both are mid-tempo rock songs that, through careful production and mixing, have a focus on vocals and lyricism without sacrificing the abrasive guitar playing both bands frequently use. They’re both hugely enjoyable, with “Never Better” functioning as an almost new-wavey rock song, and “Nothing to do with me” being more rhythmic and focused on hard-rock riffs.
As the EP continues, the next pair of songs allows each band to experiment with some interesting genre pairings and new ideas. “youbuiltafinelife” by Pretty Bitter is a buffet of great musical textures, with the highlights being the funky bass playing and the hazy, dreamy atmosphere that comes through the production and keyboard effects. It’s slightly different for Pretty Bitter while still representing their sound. “I Always Knew” by Flowerbomb also combines a lot of ideas, working as a slow-burn indie rock song with grungy guitar distortions and bits of glittery synths. The EP closes on a track both bands worked on together, the title track “Take Me Out”. It’s the most unexpected musical diversion of the whole EP, with a jaunty, folky twang and featuring great steel pedal guitar playing. Both vocalists duet with each other, and they provide a good contrast with Mel Bleker’s soft and sweet vocals against Rachel Kline’s more gruff and dynamic singing. While it may not represent each band particularly well, it’s more emblematic of two groups of talented musicians having fun and creating art for their own sake.
Take Me Out is a hugely enjoyable diversion for both bands and makes one hope for more collaborations between the two in the future. Each group gets the chance to have the spotlight, as well as experiment and try new sounds that may not have fit on another release. Both Pretty Bitter and Flowerbomb recently performed together earlier this month at the Black Cat in DC with no more joint shows currently planned, though it would be shocking if the two didn’t cross paths again soon enough.
Minneapolis-based guitarist, songwriter, and producer Cory Wong entertained the masses on day three at Newport Folk Festival 2024. The musician takes to a variety of genres quite well, blending aspects from soul, folk, R&B, jazz, and more to bring a funky, community feel to his performance. Eric Tsurumoto captured the energy of this performance perfectly.
Despite their reputation as one-hit-wonders, I think DEVO is one of the greatest American bands to come out of the 70s and 80s. If you don’t know them, DEVO is a cult-favorite new wave band that formed in 1973, with their biggest commercial success being their hit single from 1980, “Whip It”. Musically, their inspirations ranged from punk rock, synth-pop, and dance music. The band themselves influenced many music scenes such as alternative and industrial rock, and their satirical, politically charged songwriting and fusion of rock with electronics is still entirely their own. I was ecstatic to learn they were performing a Tiny Desk Concert for NPR, which has consistently been a way for older artists to reach younger demographics who may not have heard of their work originally.
If you haven’t heard of NPR’s Tiny Desk concerts, I’ll be lazy and repeat most of what I wrote for Chaka Khan’s performance earlier this summer: “Tiny Desk Concerts are held in NPR’s headquarters in DC, and all the musicians and equipment must be able to fit behind the desk where NPR’s weekly podcast ‘All Songs Considered’ gets recorded. Everything gets squeezed up to each other, making the concerts more intimate and personal. This emphasizes the music over stage effects and flashier, more unnecessary parts of a regular concert.” Thanks, past me!
DEVO’s current lineup comprises old and new members. Featured are original members Mark Mothersbaugh (vocals, keyboards), Bob Mothersbaugh (vocals, guitar), and Gerald Casale (vocals, bass); as well as newer member Josh Hager (guitar, vocals) and touring drummer Jeff Friedl. The setlist of songs is surprisingly more obscure than what I imagined, with no obvious hits or well-known songs. They played two songs from their debut 1978 studio album, Q: Are We Not Men? A: We Are Devo!, those being “Come Back Jonee” and “Praying Hands”. They also played “Blockhead” from 1980’s Duty Now for the Future, as well as “It Takes a Worried Man”, from the little-seen Neil Young-directed 1982 comedy film Human Highway.
The songs don’t deviate too much from the composition of their studio recordings, but having them performed live gives them a bit of gritty, almost alt-rock edge that reinvigorates them. The Talking Heads-sounding “It Takes a Worried Man” opens the concert, and it feels transported straight out of the 80s new wave era. Mark Mothersbaugh gives a wonderful synth solo, and the band’s inter-playing is tight throughout the entire performance. The original is also great, and a song that I believe could’ve been a radio single if promoted enough. “Blockhead” wasn’t one of my favorites from Duty Now for the Future, but its raw sound works much better when performed live. The focus on harsh, distorted guitars against wiggly electronics is still unique, but it flies higher without the smoother studio production.
“Praying Hands” is an excellent song from their debut, and it’s just as fun and campy live. The previous two songs mostly went straight into one another with short introductions, but here there are some audience interactions and performance art that the band is known for. Mark Mothersbaugh’s performance already sounded like a preacher giving a sermon and having him sing from a megaphone enhances this idea. Towards the end, he went into the audience in character to ask what people were “doing with their hands” instead of praying. It was remarkably odd, but funny, and the music remained stellar. I especially liked Jeff Friedl’s jittery drumming. The closer, “Come Back Jonee”, is an endlessly danceable pastiche of 50s hillbilly rock-n’-roll and another great showcase of the band’s chemistry. It’s jaunty, sounds strange, and made for a killer way to end the concert.
While it may not have the hits that casual fans would hope for, DEVO’s Tiny Desk Concert is a testament to an endlessly talented and underrated rock group that still hasn’t gotten their due.
If you have ever had the pleasure of seeing Brittany Howard perform live, then you surely understand the meaning of the word “enchanted.” Witnessing her live performance is like heaven itself, and it was no different on day three of the Newport Folk Festival. Eric Tsurumoto got us some highlights, below.
