It’s been a coooooold February here at TBE headquarters. Unfortunately, the office codes are pretty strict and shutdown our daily bonfires, so we’ve relied solely on the fiery heat of our choice jams to keep us warm. Which has worked out pretty well, to be honest. The dancing has led to bonus cardio, and we’ve burned off at least one of our chocolates from Valentine’s Day. Maybe we should start a fitness site, too.
If you want to be part of our trial team, just check out our Spotify playlist below. Supplements come in the form of more sweet tunes, so be sure to follow us to stay warm until the sun comes back.
Supposedly, only 8% of people actually keep their New Year’s resolutions, which is why The Burning Ear is suggesting a brilliant new idea: Retroactive Resolutions. With Retroactive Resolutions, you decide what your resolution was after the first month of the new year, giving you the chance to accomplish something you’re already mostly done with anyway, or to check off a to-do item whose solution is sitting in front of your face.
For instance, if your Retroactive Resolution was to discover and support more new music, all you’d have to do is dig into our Spotify playlist from January, and BOOM! Resolution achieved. Aren’t you just a go-getter?
Be sure to follow us on Spotify for a head start on February! After all, you’ve gotta keep this resolution up all year, right?
Wet Leather‘s latest track is made for gazing at lights from a disco ball from the edge of the party. You tap your feet and sway your hips, but you’re far too sad/morose/shy/cool/awkward to get on the floor. Instead, you watch the shuffling swing of the drums and the Prince-inspired guitar licks light up the rest of the dance circle. You mouth along with the lyrics, “I’m in love for the last time, I never want to do that again” as the lights flare up with the stargazing synths. But then you catch someone’s eye – did they just wink at you? And suddenly your friends are at your side, clapping your shoulders and pushing you towards the middle of the room, just in time for you to catch the peak of the final chorus.
We get to catch the rest of the party when Wet Leather drops their new EP, Present Lives, on February 2nd. Until then, keep your spirits high with the first single from the release, “IWMU”.
The city of Houston needed a win this year. Between the devastation of Hurricane Harvey and the less-publicized Tax Day flood, the fourth-largest city in the United States had a rough 2017. Happily, Day for Night’s third year was more than a win – it was a celebration of the best and weirdest of the city, along with international artists and musicians to reflect the spirit and culture of the strong music & art scene there.
Day for Night is unique because of two intertwined factors: the venue and the respect they show to the light & art installations found within. The two outdoor main stages are pretty run-of-the-mill festival fare, but the rest of the fest happens inside the now-defunct Barbara Jordan Post Office building, which is better described as a sprawling warehouse. Left mostly dark, the building housed two indoor stages on the ground floor, several bars & VIP areas, and an entire second floor dedicated to art installations with a particular focus on light, sound, and interactivity.
Light Leaks installation by Kyle McDonald + Jonas Jongejan. Photo by Kyle McDonald.
While art installations are nothing new to festivals, they often feel like an afterthought, something to entertain audiences on their way from stage to stage. Day for Night blows others away on the sheer scale and thought put towards them. You could easily spend an entire day exploring and experiencing the pieces, a fact underscored by the full queues for the bigger names in the visual lineup, including Ryoji Ikeda, Mathewe Schriber, and Ryoichi Kurokawa. But despite the quick-moving lines, the massive interior space meant that even though the festival seemed very well-attended, crowds rarely became an issue. You could move quickly and easily from installation to installation, spending as much time with the interactive pieces as you’d like without feeling rushed or pressured by a horde of people behind you. Clever partitioning meant that the immersive experiences, often involving detailed sound design in addition to bright and moving lights, never interfered with each other or prioritized one over another.
None of this is to diminish the incredible music lineup, drawing names across the spectrum. The eclectic mix appealed to all music fans with bigger names such as Nine Inch Nails, Cardi B, and Justice rightfully attracting many. But, like I said, this was also a celebration of the weird, and the more experimental performances from artists such as Godspeed You! Black Emperor, Jlin, and Shabazz Palaces were not only welcomed, but met with eager and raucous crowds and applause. Other big name Texas festivals like Austin City Limits or, elsewhere in the US, Pitchfork Festival struggle to draw so many stellar fringe artists. North Carolina’s Moogfest might be a closer comparison, but even that festival lacks the visual component and comes at a higher price-tag.
Justice at Day for Night 2017. Photo by Nick L. for Festival Snobs
Musical highlights included a powerful homecoming performance from the Houston-born Solange, who stunned the audience on Sunday with towering onstage sculptures, appearances from the TSU marching band, and a dynamic, heartfelt performance drawing largely from her masterful A Seat At The Table album. Closing out that night was the incomparable Thom Yorke, whose ensemble (including longtime producer Nigel Godrich) ripped through a 90-minute set filled with selections from The Eraser & Tomorrow’s Modern Boxes, as well as songs from his Atoms For Peace project. Electronic acts Demdike Stare, Mount Kimbie, and the aforementioned Jlin explored brutal and heady terrains, and the more dance-centric Jamie XX, Roni Size, DJ Tennis, and Nina Kravitz had crowds tearing up the floor. Back on the main stage, Russian ex-pats Pussy Riot powered through a set that engaged the huge crowd despite being mostly in their native tongue, and Justice had every person in the crowd losing their mind with perhaps the best stage production of the weekend.
Day for Night 2017 is the best festival experience I’ve had in years. There are always things to improve: the layout of the Blue Stage meant most of the audience had limited view of both the stage and the visuals, especially important as it housed most of the electronic artists. Vegetarian and vegan food options were limited, and better signage for restrooms scattered within the building could have improved lines. But the staff was helpful and friendly, audience spirits remained high all weekend despite heavy rains on Saturday night, and there was a true sense of brotherhood and appreciation for how special the festival was.
Telestron installation by VT Pro. Photo by Randall Pugh.
On Sunday, I met a festival-goer who had lost her apartment & many of her belongings in the hurricane, which meant she had to leave a job she loved for a higher paying retail job to help offset the losses. Shortly before Thom Yorke, I asked if the festival was a way of her giving a middle finger to 2017. She laughed and said, “No, this festival is a way to celebrate what I love. That I’m gonna be – that Houston’s gonna be – just fine.” Then we hugged and turned to watch our musical idol take the stage.
https://www.theburningear.com/media/2017/12/DFN_Hyperallergic_Banner_01-1.png318515Jason Adamshttps://www.theburningear.com/media/2015/03/TBE-Header-Logo-2015-stack1.pngJason Adams2017-12-22 07:12:032017-12-21 23:16:54Inside the first festival of the future: Day for Night 2017
This month’s playlist comes especially recommended after the high-octane eating spree of Thanksgiving. We recommend jamming out to this playlist at least 5 times a week for cardio and digestive aid. 6 times if you helped yourself to that extra slice of pie. We’re looking at you, Todd.
Be sure to follow us on Spotify for more great playlists.
Longtime TBE readers will recognize Son Step, which gives you a starting point for the new solo project by member Jon Coyle. But “Fun & Levitating”, the debut single from his upcoming Happy Place EP, is a slightly different beast. While Coyle’s music doesn’t fully divert from the electronic-indebted folk styling of Son Step, it does find him reprioritizing those elements, favoring delicate layering and meditative rondos over more traditional song structures. It’s a musical smorgasbord with dashes of Fleet Foxes, CAN, ambient, krautrock, lofi drone, and even Indian ragas, and Coyle’s velvety overlapping vocals melting all those influences together into something a little bit more. But despite all the lush singing, this doesn’t feel like a song to sing along to – it feels like a song to get lost in. Dreamy Sunday mornings just found their new favorite soundtrack.
There’s a lot of things that Rattlerette sounds like, but there’s nothing that sounds like Rattlerette. Their brand of rock feels gothic without being “goth”, more reminiscent of glaring statues and dramatic arches than graveyards and black eyeliner. There’s a gorgeous vintage lushness to their recording, as demonstrated by the retro record header used in their artwork. But “Here Be Dragons” also feels distinctly of the now – a feat difficult for an indie rock song to achieve in 2017. The drums are all R&B shuffle, and but the rhythm is really pushed by the flow of the bass and the synth swells that gently lean you forward like a dance partner who knows how to lead. Angelic piano and the choruses’ backing choir may set your mind heavenward, but lyrics like “I’ve been livin’ with the sinners” and “I’ve been searchin’ for grace” make the song aimed at the impious. “Here Be Dragons” may not save your soul, but it will fill it to the brim.
“Saw It Off” is about letting go of the things holding you back from where you want to go, and every aspect of the song commits to that feeling. From the jaunty guitar line that’s practically jumping out of the speakers, to the way the beat seems to get shut off for a second at the end of the choruses, Fred Page makes each element contribute to themes of his lyrics. “I turned away from all the bridges I burned on the way” is a rallying cry to move forward while also acknowledging the speaker’s own role in holding himself back – something stated even more directly in the repeated question “What am I waiting for? It’s only gonna weigh me down”. The result is reminiscent of Ben Howard, but much livelier and easier to envision in an arena. “Saw It Off” might just be your next big hands-in-the-air anthem.
https://www.theburningear.com/media/2017/11/FP-MMT-Final-Cover.jpg38413840Jason Adamshttps://www.theburningear.com/media/2015/03/TBE-Header-Logo-2015-stack1.pngJason Adams2017-11-08 11:38:262017-11-08 12:17:29[PREMIERE] Fred Page - "Saw It Off"
Here are some interesting links for you! Enjoy your stay :)