Amid the roots acts that froth up so frequently from the Tampa Bay talent pool, Brother Cephus — the project of Tampa-based bros Seth and Gabriel Davis — stands out with strong songwriting and a firm grasp of yearning and melody, from the soothing dusty-folk ramblings of “Waiting” with its delicate passages of layered guitar prettiness and raw vocal quality to the more urgent roots-noise of “Crossroads” that builds to dark and heavy Southern-soaked territories with pounding and screaming washes of bass and guitar. This show marks the release of Wounded Hearts: Collection 2, a follow-up to the debut they issued just this past May. Digital download codes are offered with limited (50 total) custom-made art prints designed by Amy Kathryn Anderson and Joel Davis, the latter behind warm-up solo act Fistful. South Florida indie rockers Civilian will also perform at this New Granada-hosted release party. 7 p.m., Crowbar, Ybor City, $8.
Check out both "Waiting" and "Crossroads" off the Wounded Hearts EP after the jump....
While the Summer Jam 10 lineup only encompasses 13 bands – relatively light in lieu of other multi-act, multi-venue music events – every single one is worthy of your attention. So, which to choose? We’ve highlighted six mandatory sets below.
Joe D’Acunto’s heart isn’t on his sleeve. It’s in his mouth, ready to be unleashed at a moment’s notice. And regardless of the situation — be it a mellow afternoon chat at New World Brewery or a last-call rant at The Hub — you’re going to get every ounce of that heart shoved down your throat.
The hulking, bearded New York transplant has cultivated a passion for Tampa Bay since he started booking shows here in 1998. Part of that passion dies on Saturday, when the curtains fall on the 10th and final installment of Summer Jam — one of Ybor City’s longest running music festivals.
This year’s lineup is arguably its best, most eclectic to date and includes a few Georgia bands (dance-pop weirdos Reptar and garage-rock savants New Madrid) plus nearly a dozen Sunshine State artists plying everything from Americana to electronica on two stages. The party has been known to host local acts before they break, too. Merchandise’s Carson Cox (now signed to UK imprint 4AD) brought an early band — Dry County — to play Summer Jam 2, and fast-rising blues rocker Benjamin Booker (a Hillsborough High School grad now signed to ATO Records) played just last year.
Last week, in a profile of Tampa band Merchandise posted to uber-hip arts and culture outlet Dazed, frontman Carson Cox had this to say about his new album, After the End, and his hometown:
“I’m proud of the fact that we did this in a cultural wasteland, that we made something we think is intelligent in a place where they just don’t want anything intelligent.”
Cox goes on to refer disdainfully to what he sees as Seminole Heights’ gentrification, comparing it to that oft-derided Brooklyn post-hipster enclave, Williamsburg; elsewhere, he bemoans the lack of culture worthy of his attention, saying that “if I had to rely on the world for my entertainment, it’d be really bleak.”
The article is titled “Merchandise: Tearing Up Tampa.”
Naturally, the Tampa Bay creative community reacted with all the polite rebuttal and reserved commentary for which contentious, easily triggered online mobs the world over are known.
The Mojo Gurus have been a staple of the Tampa Bay music scene for the past decade, made up of four practiced musicians as led by force-of-nature frontman and songwriter Kevin Steele, whose gritty groaning lead vocals rise to commanding howls when he’s not blowing a fiery harmonica. This Saturday, the quartet – rounded out by guitarist Doc Lovett, bassist Vinnie Granese and drummer Sean Doyle (all on support vocals) – present their most recent studio outing at a WMNF-hosted release party.
It’s the last batch of new releases in August. Where did the time go? Info and links for this week’s releases – the ones you want to know about most below, plus some other ones you may not have heard of (but should know) – with audio & video for your listening and viewing pleasure. Click here to see releases from the past several weeks…
Elephant Stone, The Three Poisons (Hidden Pony/Universal)
The Montreal psych rock outfit with Indian-exotic and Krauty flavor — likely dictated by frontman-songwriter Rishi Dhir — makes a most delicious sonic stew. We like; Best of 2014 contender right here. Check out "Child Of Nature (Om Namah Shivaya)" below. Dhir told Consequence of Sound he wrote the song while trying to set music to Tibetan Book of the Dead: “While reading it, a few passages stuck out for me: ‘oh, child of nature’, ‘loving in kindness, compassion in life’, ‘your nature in blue light’… basically, this song wrote itself..."
If you don't already own a copy of Ryan Adams' 1984 7-inch, then you probably never will. The physical copies of one of the more raucous records from the the 39-year-old singer-songwriter sold out long ago, but at least you've got the Interwebs to bail you out as far as hearing it goes.
Probably the most impressive thing about LP1, the debut from postmodern UK torch singer FKA twigs, is that it’s not entirely what it seems to be at first.
From the singer’s artsy-as-in-weird visual sensibility to her detached persona to her muted electronic sound palette to her fractured stage name, it’s extremely tempting to pin her down as a female answer to Abel Tesfaye, aka The Weeknd. The Weeknd blew up in 2011 on the back of a trio of EP/mixtapes that stripped away most of the sonic and thematic glory of R&B as we’ve known it, replacing it with eerie distance and a focus on the uncanny over the sensual.
He was one of the first of a group of artists to head in that pan-racial, inward, electro-tinged direction, along with Frank Ocean, How to Dress Well, and most famously, Miguel. We’ve been in a bit of a dry spell for this emerging style (aside from maybe Top Dawg Entertainment’s SZA), and I love the stuff, so LP1 has been on pretty much constant repeat since it dropped on August 12.
“Sludge metal has more vocals. Doom metal is more consistently slow, and it’s got more of a stoner rock influence.” Evan Chebot knows his metal microgenres, and he came all the way from Orlando to soak in it at the Southern Darkness Festival over the weekend. He’s also clearly a tube-grown clone of Ryan Gosling, with a pencil-tapered blonde mustache, a Brylcreemed trim parted sharply on the left, and cheekbones you could slice a cucumber with.
Heavy metal used to be for outcasts — pimpled teenage wretches and full-grown parking-lot stoners for whom getting a girlfriend and successfully summoning a demon were equally realistic scenarios. But over the last ten years or so, some strains of metal have been adopted by the hippest of the hip crowd. Bands like Southern Darkness headliners Pelican get great reviews on Pitchfork. For serious music fans under 30, Sleep and Sunn o)))) are probably more revered than Radiohead.
“It’s not an infiltration, but it is a difference,” says Sam, the bearded proprietor of Jacksonville’s Primal Vomit Records, standing next to loaded table of obscure tapes at Crowbar. “I can’t be totally against it, because it is support. I guess I straddle the fence.”