Flagland will punch you, and they probably wont feel bad about it

Flagland is one of those rock bands that has never really seemed to “give a fuck”. And when they appear on Serious Business, I’m reassured that, while their manic storytelling might hint otherwise, they really don’t. They’re not afraid to punch you, even if you’re not the one who was heckling in between songs. When they show up live, they’re there, they get drunk, they play their songs, and whether you like it or not, it’s fucking Flagland- so pick a side. Beneath the relaxed songwriting is a dissonant message that drips emotions that they’re hardly energized enough to share; while moments of pulsing outbursts that line the compositions create a dynamic that is human, in the sense that it’s completely bipolar. @Dingusonmusic

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This post is more of a personal rant, but that’s what Nothing Important Happened Today did to me

a1705925530_10Nothing Important Happened Today by Andrew Henry   (Pittsburgh, Pennsylvania)

I knew that I liked Nothing Important Happened Today (because that’s most days) but I didn’t know I loved it. Not until I got to the interlude and it ripped my heart out, fucked it, and put it back into my chest. As someone who used a whole lot of heroin for a whole lot of years, and who is now in recovery and clean, it really brought back some horrible memories of all the people I let down in my active addiction (but more seriously, if your like 15 and reading this, the message is that drugs are totally cool/fight the system/don’t go to college).  Then there’s a Death Grips sample (RIP) set to the most un-death-grips music, ever. The whole album is smooth like the cough syrup this dude obviously drank to trip and make it. Again, drugs are totally cool, school is lame, parents suck, down with the man.

“All I’m saying is that if I ever start referring to these as the best years of my life, remind me to kill myself. All I’m saying is that I want to look back and say I did the best I could when I was stuck in this place. Had as much fun as I could when I was stuck in this place. Played as hard as I could when I was stuck in this place. Fucked as many chicks as I could when I was stuck in this place.” Right now, for me, this place is South Florida. And Im temporarily stuck here. Thanks Andrew Henry for pulling back the curtain on my personal situation, we just connected bruh and you don’t even know it. [Free Download@Dingusonmusic

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Like the downer b-side to a party that never happened – Afterglow (Best New Music)

a3543968137_10Afterglow by Treehaus   (New York, New York)

Like the downer b-side to a party that never happened,”Clouds,” the teaser track from Treehaus’ new album Afterglow, swells and stutters. unsure what to make of the sleepy dark side streets he walked alone home from a club he never went to. Maybe the music was too loud and she didn’t hear me say I was leaving, he pines from the bed he never left about the girl he never met. Start and stop drums rattlesnake like a nervous tic. The walls of the track warble. His fragile psyche pitch bends unbalanced. Where did it go wrong? Did anyone even notice? @hiv_aidz

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“I Saw You Dancing Up Front and I Knew You Were Getting Sweaty”

10155043_566774826763803_1406356023_nWell hello there my loyal Dingus Readers! I know I’ve been on a bit of a hiatus but, as always, I promise to bring you the best of the best at the right time. Today, I bring you my personal review of this past weekends Gigawatts Festival. I could barely hold in my excitement when Friday the 18th rolled around. I knew I was up for a weekend of all my favorite bands and then some. Did I anticipate achy bones, dehydration and sweatiness beyond belief? You betcha, but I knew it would all be worth it. Typing down my complete experience would be a bit lengthy and to be honest, I don’t think I have it in me. So, I’m going to give you the highlights, the best of the best.

The festival took place over the course of 4 days and 3 venues, my nights were as follows:

Night 1-As I got off the J train after a long day of work, I rubbed my eyes and knew I had enough time to jet home, drop off my bags and walk out the door. I did just that, I was in and out within 10 minutes and began the 15 minute walk to Radio Bushwick. I knew Frankie Cosmos were going on at 11:30, I knew they were a big deal and I knew I didn’t want to miss it. Frankie Cosmos sweet, soft sound soothed me into the night. I didn’t know what to expect from them but that wasn’t it, however, I was pleasantly surprised. Their songs were on the short side, which I loved, and they sung a song about David Blaine. I loved them. Case closed.

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Night 2- I woke up with a huge grin on my face because Saturday night was easily my favorite line-up. As I rolled up to Radio Bushwick, my eyes widened because I couldn’t believe the size of the crowd. I mean, the night before was packed, it was just amazing to see it happen again. Little Racer were a band in particular that stood out. I had heard them in passing and have seen them on bills in the past but have never actually stood and listened to them. I sat at the bar and couldn’t stop bobbing my head. Their songs were so catchy and later listening proved that they definitely sped up their set. A classic trick of my favorite punk bands. Next up were Slonk Donkerson, a personal favorite. As per usual, they took to the stage and totally blew the roof off the place. Classic rock and roll that lives through the ages and hold up to whatever is put against it. As I sharpened my nails to clobber anyone who stood in my way to get a Slonk t-shirt, I made my way to the mercy table and grabbed my very own tee….for the reasonable price of $10 I might add.

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My next two must sees, Heeney and Honduras, were playing down the street at Hot 97.4. Naturally, I knew I wanted to secure a decent position for both bands. Since I’m a girl, for Heeney, I stood in the back of the room. I had a feeling the crowd was going to be a bit “dancey” and I was worried my little, blonde self would get knocked to the floor. It was a good call. Heeney had the crowd going absolutely wild. Bodies jumping and thrashing, voices singing at the top of their lungs and my personal favorite, a tribute to King of the Hill. It was a good ol’ fashioned punk show abd it left all in attendence smiling from ear to ear and sweating from head to toe.

My ultimate must see, Honduras, were next. I’ve seen them countless times over the past 2 years and they never dissapoint. I rubbed my neck, streched my arms and stood at the front of the crowd. The boys played a short 20-ish minute set but owned it. I couldn’t help but shake my blonde locks and jump around until I felt sweat roll down my back.

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The very next morning I woke up and couldn’t move. My neck was sore and couldn’t turn, my back felt jammed and my feet were swollen. Was it worth it? Absolutely. If I could do it again this weekend, I would. Where else could I see all of my favorite Brooklyn bands in one place? I would like to personally thank 1.21 Gigawatts Editor-in-Chief/Mastermind, Danny Krug. Thanks dude, you put on a heck of a festival, even if it cost me a couple days of bed rest. I loved every bit of it. @LeahDingus

 

Psychedelic Sludge aka BETRAYERS

a2876695572_10 Let the Good Times Die by BETRAYERS   (Edmonton, Canada) *

Dreamy and lit, a sticky brick of B.C. Buddha and a milk crate full of shoegaze garage rock, the Betrayers epoxied muff pi pedals to every amplifier in Edmonton last January and flooded their record, Let The Good Times Die, in psychedelic sludge. Track by track tugs and stitches bits of John Cale, Nathan Williams, and The Sonics in a raw doze.

Spring now and this pollen dusted guck pop just makes sense. You’re going to recognize and place beats and hooks, but this kind of pacific punk has been communal since its inception. The Sonics practically learned their instruments playing along to Wailers records, the Ventures followed, Paul Revere and the Riders, and so on. Undeniable unoriginality is kinda what I like about it. The boom beat bass, clanging piano, and doom eager vibe of “Cherry Beach” makes the unanimous single, but on the whole, EP’s a true bruiser. @hiv_aidz

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You can always depend on a Golden Pony remix

artworks-000082080250-gu1m8e-t500x500‘Casey Jones (The Golden Pony “Golden Classics” Remix)’ by The Grateful Dead   (Brooklyn, New York)

You want to fist pump bro? Here’s The Golden Pony’s remix of ‘Casey Jones’. That’s right, it’s a Grateful Dead cover. For all you twenty something year olds that call yourself Dead Heads (or is it Dead Headz). Very little from the original crosses over here, but the most important part still rings out “Driving that train, high on cocaine” – because who hasn’t? My dad would be so proud of this. Because it’s awesome and that horn line is sexy as fuh. @Dingusonmusic

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Whitewash somehow made me go through the whole spectrum of human emotion

a0098610108_10Fraud in Lisbon by Whitewash   (New York, New York)

When I clicked play on the first song on Whitewash’s debut EP, Fraud In Lisbon, I felt like I suddenly entered a state of pure euphoria, happy tears streaming down my face. You could definitely tell that I was in a glass case of emotion with no chance of getting out….ever.

The EP starts off with ‘Colors // In Absentia’ that begins with a riff that captivates all six of your senses and sends you to a place where there is a neverending supply of kittens, sweets, and all that is good in the world. Some tracks are chill and make you want to curl up with a cup of tea and some just make you want to dance a bit, albeit slowly. Fraud in Lisbon has fun instrumental jams and pretty good lyrics that, for some reason, give me a bit of a Radiohead vibe. I’ve probably listented to the album 81 times while writing this. [Free Download@caaarlirose

Vandana Jain to Play Live at Highline Ballroom + Offers Free Download

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Having released her extraordinary debut full-length album “Anti Venus” this past November, electronic sound architect and vocalist Vandana Jain offers a free download of her lead single “Ecstatic.”  as a thank you to her fans.  The most efficient way to access the track is to Like her Facebook Page.  There you will find a speedy download app.

That track is a revelation, as it emphasizes distant percussive mechanical clicks and whirrs recreating sci-fi atmospheres first touched on in the mid 1970’s via Pink Floyd’s “Welcome To The Machine.”  Dark foreboding (yet warm) analog synth notes pulse and rise from distant ethereal mists. Recorded at Jain’s home studio, inspiration came in part by delving into Henry Miller’s classic novel “Tropic of Cancer,” and its embrace of “the grip of delirium.”  “You freak – you make me ecstatic” becomes the central single line vocal hook. All semblance of repetitive listener fatigue is non-existent, however by virtue of varied intonated emphasis throughout each recitation.

Additional Anti Venus tracks like “Claw” are less instrumentally dense, allowing more space for expressive vocals.  With a style reminiscent of Kate Bush’s penultimate work combined with the modern deeper vocal textures of British pop vocalist Sophie Ellis Bextor, Ms. Jain’s voice becomes an instantly appealing force.   While “Mask” is recurrently stark and minimal in places, the overall effect sounds incredibly big.  Her seductive vocal delivery (and placement) makes for a delightful headphone listening experience.  The subject matter focuses on the “mask” we all put on every day to function.  Molded to each of our points of view – which are often deceptive.  Frequently presenting a “wicked smile” that can be “crooked and sideways” or “misleading.” Ultimately the mask will come off when looking in the mirror (because only you are there to see).  This allows for an unguarded conversation with one’s own thoughts.

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The live set features analog driven electronic instruments with band members Yusuke Yamamoto and Ryan CaseyVandana Jain will be performing live on July 30 at the Highline Ballroom as part of Den Entertainment’s 2-Year Anniversary showcase called SHE.  Also appearing will be Arooj Aftab, Lily Virginia, Janelle Kroll, and between set DJ SoDabu.  Tickets can be purchased here

@davecromwell

Simple desires in song form – Audrey Vixen

a1189997705_10‘Grafficity’ by Audrey Vixen   (Australia)

So many people get lost in writing “more emotionally charged, dark” electronic music, believing falsely that they are the next Trent Reznor or something of the like. The reality is that most of the things you think to put into melodic form come off as cheesy and uninspired, but Audrey Vixen seems all about taking her/his (pretty sure it’s two people) simplest, most humane desires and wielding them in a complex battle dance that just so happens to deliver itself in electronic music. And you might say, but Dingus, there’s no words in this song, how can you judge it’s desires? Because I can feel them, you dumb dumb. [Free Download@Dingusonmusic

Spazzkid goes minimal by comparison to deliver only perfect pieces

a2515471808_10Promise by Spazzkid   (Los Angeles, California)

When repetitive samples make you think that life would be better experienced in .gif form something is being done terribly right or terribly wrong. The latest release from Spazzkid is a culmination of previous work erupting in something more stark and selective. Where his past endevours layered and layered, creating textural compositions that amplified complexity, Promise steps back to let the individual elements speak more clearly as each defines a perfect balance within the tracks. @Dingusonmusic

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