I just can’t do it. I can’t resist. When I sit in front of a plate of food, it pushes against the bounds of my deepest abilities to not eat every gram of cheese, butter, and pizza roll in front of me.
I even eat the garnish.
There are upsides, and downsides to this crippling mental ineptitude of mine. One: I’ve placed second in an eating contest, ousted by only one measly second. Two: I am forced into grueling physical exercise to ensure I don’t become horribly overweight. Granted, being fat has not caused me issue yet – my main concern is that by dying at the age of forty due to heart issues, I’ll be short changing myself a good thirty extra years of shoveling horse radish and beer into my gullet.
In the same way I blindly consume hot pockets and feta cheese, I am incapable of feeling anything but an utterly despicable amount of envy and respect for the DFA label outfit. LCD Soundsystem, The Rapture, YACHT, and a personal “You just don’t get it, bro.” favorite of mine, Prinzhorn Dance School. These bands are nearer to my heart than most things, if not all things. +Continue Reading
The Heartless Bastards, or: How I Learned to Stop Worrying and Love the Band
That’s me, sitting there under a café umbrella with my girlfriend and her sister, drinking a beer, killing time at the one wet spot we could find on the University of Florida campus. Next to us there are a half dozen tables showcasing the parenthetical Diaspora of college freshmen, multicultural clean-cut kids stressing about finals, French manicures, iPhone apps, Ultimate Frisbee. On our other side there’s a four-top of thirty-somethings looking bored with their 8 oz cups of beer, presumably waiting for the Heartless Bastards show to begin, just as we were. The show was free; some sort of college radio promotion or school newspaper bill-filler for students to cap their Thursday night. At the time, the band was in an early-summer sabbatical, having released The Mountain the year before to excellent reviews, Brasky.org included. That album was an organic, slow moving exercise in Middle American blues-rock, at times almost suspiciously like the Black Keys, at others emotionally twee or self-defeating with a twist of old-timey Billie Holliday-style intrigue. It was a big record that I can’t say I saw coming, and maybe the band didn’t either. At this point the band had reached whatever peak of popularity they have yet seen, whether it be “indie darlings” or “relative obscurity” or “generally favorable reviews on metacritic”. They were still two years away from Arrow, their newest release; it’s a record that could be dismissed as formulaic if the band weren’t so damn clever in the execution. +Continue Reading
While at the show, be sure not to look directly at the drummer. His mustache is made of gold. Looking into its deeper ontological recesses may cause bouts of euphoria or severe sexual arousal. I stalked him on Facebook after the last show to make sure it wasn’t a party favor – and yup, it’s real.
Front man Ernest Greene’s somewhat exhausted rural boy gaze will set the crowd’s mood – either causing participants to vomit or to feel the slight resentments of being an unappreciated artist. The music is pretty emphatic that way. +Continue Reading
Still coasting on 2010′s widely acclaimedTeen Dream LP, Beach House stops by Orlando next Wednesday with songs from their new album, Bloom
Before I had ever heard of Beach House I knew that my music catalog was missing something, I just couldn’t put a finger on it. A few years back I was riding in a co-worker’s car to lunch and I had heard what was missing all along; “Zebra” made it all make sense. I realize that makes me extremely late to the Beach House party, but at least I showed up at all right? Right.
This band was everything I had been searching for: the perfect combination of swirling and twangy guitars, airy yet rich vocals, upbeat keys with hints of sultriness, and a sense of complete weightlessness. Yes, Beach House had poured themselves right into that hole in my heart. I was instantly hooked…I was enamored. +Continue Reading
A secretly-impressive collection of 100+ bands is coming to Orlando this weekend. $30 gets you in all 4 days; $10 is good for a day pass. Here’s a little background info on the event and why we think it’s the start of something great.
So there are a lot of music festivals lately – have you noticed? And they’re getting bigger; much bigger. Ten bands in one day used to qualify as a “festival”. Now SXSW has 1000 bands and lasts 6 months (I think). With all these festivals popping up, surely there’s one out there with allure past a few interesting headliners AND doesn’t cost $300. Maybe? No? Bummer. +Continue Reading
The mashup is a dubious thing in music. When they’re good, they’re really good–consider Danger Mouse’s acclaimed blend of Jay-Z’s black album with the Beatles’ white album, “The Grey Album“–get it?
Remember when mashups were cute?
But really, do you get it? Do you see how the album got cooler (more internetworthy) by having a name that’s fun/clever?
It’s understandably irresistible to work in some wordplay when merging things, but this hallmark of the modern mashup has had an undesirable side effect: the birth of mashup ideas based on wordplay (or other conceptual novelties–like photoshops–that become available when song A is juxtaposed with song B). The problem is that song A and song B just might not be mashuppable. In fact (FACT), they usually aren’t unless at least one of them is skillfully disassembled first (a fact overlooked by armies of cut-and-paste DJs equipped with an arsenal of illustratively potent YouTube tutorials). The internet’s been getting landfilled with bungled mashups and we could stop it if awareness could be raised on some essential ingredients to a mashup engineering. +Continue Reading
I want to tell you how exhilarating it is to proudly tote your newest vinyl find home and spend the better part of two hours pouring over the liner notes. I want to tell you with certainty that your favorite band will sound better on vinyl.
But, this could be a lie. I sacrificed my record player and modest record collection back in “The Great Break Up of 2009″ to an ex-boyfriend who supposedly enjoyed all of those things much more than I did. And I must (somewhat bitterly) admit that most of my music(ing) takes place in a vehicle or at the gym, so vinyl doesn’t really fit into my life. But none of this makes me any less excited about Record Store Day.
While I won’t be first in line for the Wilco box set, you’ll find me in St. Pete this Saturday soaking up sun, songs, and copious amounts of beer. The 600 Block does it so beautifully right for Record Store Day. Doors to Daddy Kool open at 8 AM (line starts at 6ish, so beware) with a DJ set to get things going. Live music starts at the Local 662 at noon, and I sincerely hope you stick around until later that night to see Meteoreyes at 10:45. Live music starts at Fubar at 1:00 PM. There will be fun, food, a chance to fight a kid for that Ugly Custard LP you wanted, and in case I haven’t mentioned it, beer.
If you’re on the other side of the bridge, I will try not to judge you too harshly and also point you in the direction of Mojo Books and Music by the USF Tampa campus. They open at 9 AM and DJ Sam Esser will play your RSD purchase on the spot, should you let him hold your precious Kimbra EP. Even if you don’t want to share, we’ll understand. Over in the Seminole Heights area, Microgroove will open at 7 AM and have live music from 1 PM – 4 PM. They will also have complimentary PBR throughout the day, which may be enough to make them my pregame spot. (So I pregame RSD, don’t judge me. I’m not the one waiting for the Switchfoot CD.)
Daddy Kool, the Local 662 and Fubar will have the best block party, hands down. At about 11:30 PM I will be drunk and teary and mumbling how beautiful the day was. Yes, I will make myself available for sloppy photo-ops. The 600 block will also have the biggest selection of live shows. Daddy Kool will be have storewide discounts throughout the day.
Mojo Books and Music also boasts an array of sales and free goodies (and beer!) along with a decent line up of shows. I’m not sure what to expect from Microgroove since this is their first RSD, but they offer free beer and a few shows along with storewide sales. However, Microgroove has an ace up their sleeve; if you spend $40, you get into the Blackbird Blackbird show at New World Brewery that night for $5. If you spend $80, you get in free. I can’t stress enough how much you should go see Blackbird Blackbird, I wouldn’t lie to you about this. I know I kind of lied to your earlier, but we have to get past these trust issues.
And last but certainly not least, if you’re feeling frisky and want a road trip for RSD, you absolutely must go to Sweat Records in Miami. RSD ambassador and badass himself Iggy Pop will be there.
You don’t have to be a vinyl elitist to have a blast on RSD. You can meet cool people and set up carpools to future shows, gorge yourself on vegan baked goods, enjoy hours of free live music, score that CSC Funk Band 7″, drink yourself silly and best of all, support your community and the local record stores we hope never ever disappear. And for those of you wetting yourself over The Pharcyde Singles Collection, well, you already know what’s up.
Here’s is the complete list of Record Store Day Releases and yes, the moment you’ve been waiting for, your beloved Brasky picks.
Derek Clark:
Beach House – “Lazuli” 12″
Shabazz Palaces – Live at KEXP 12″
Saturday Looks Good To Me – All Your Summer Songs LP
Oberhofer – “Away From U” 7″
Neon Indian – Hex Girlfriend (translucent 10″ blue vinyl)
Nikki Elizabeth:
Beach House – “Lazuli” 12″
Leonard Cohen – Live in Fredericton EP
Janis Joplin – Highlights from The Pearl Sessions
Death Grips – The Money Store
Odd Future – The OF Tape Vol. 2
Aaron Rogge:
Blitzen Trapper – Hey Joe b/w Skirts on Fire
Mastodon/Feist (??? I heard about this craziness)
Edward Sharpe and the Magnetic Zeroes – One Love to Another 7″
Captain Beefheart – Diddy Wah Diddy (this is a reissue of an almost 50 year old song that may have been the first sparks of psychedelic rock/zappa insanity/avant garde)
The Flaming Lips – The Flaming Lips and Heady Fwiends (real Neon Indian blood in the packaging, allegedly)
Anna Serena:
M83 – Mirror 7″
Neon Indian – Hex Girlfriend 10″
NoBunny – EP
Emanuel Moshouris:
Animal Collective – Transverse Temporal Gyrus 12″
David Bowie – Starman 7″
Neon Trees – Everybody Talks/Lessons in Love 7″
Regina Spektor – The Prayer of Francois Villon (Moltiva) 7″
Nicolas Jaar and 78 Edits – MIKE JAMES KIRKLAND: LUV N’ HAIGHT EDIT SERIES VOL. 1 12″
Keri Ramos:
Janis Joplin – Highlights from The Pearl Sessions 2x 10″
One of our favorite lo-fi/dreampop outfits, Blackbird Blackbird–San Fran’s Mikey Maramag–has quickly gone from featuring once or twice in our playlists to earning a full time spot on our “Albums we really like listening to in the car.” Our initial worry was that there were too many chillwave/popwave/indiewave/wavewave bands out there, but Blackbird Blackbird reminds us that isn’t the case (yet). Fans of Orlando’s Emily Reo might recognize the name thanks to her collab on one of BB’s most popular tracks, Fade to White.
Blackbird Blackbird’s tour is making its second stop in Florida this Saturday, supported by Florida Night Heat and the uncomfortably young/talented opener XXYYXX. New World Brewery is the venue and $8 gets you in – Tickets / Details.
Check the official music video for “Pure”. My favorite part was the part with the girl.
XXYYXX is the moniker of Orlando's Marcel Everett.
XXYYXX is one among a promising stable of young beat makers and musicians on East Coast label Relief in Abstract, grabbing attention from some high-visibility blogs including XLR8R and Earmilk. Not bad for a 16-year-old just getting his feet wet (feel old yet?)
On March 24, Brasky is proud to present SBTRKT, live at the Orpheum. SBTRKT (hint, “Subtract”) is the alias of London producer/musician Aaron Jerome, who is making his first US tour following a tremendously successful self-titled album in 2011. Don’t just take it from us–the album found its way onto many top 10 lists in 2011, including the #1 spot for two of The Guardian‘s music critics.
I just can’t do it. I can’t resist. When I sit in front of a plate of food, it pushes against the bounds of my deepest abilities to not eat every gram of cheese, butter, and pizza roll in front of me.
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