REVIEW Priests @ 9:30 Club

BY KELSIE EHALT//

Priests’ concert at the 9:30 Club began with two disparate but interesting performances. The first opener, Black Myths, was a drum and bass duo, and each member was individually talented, although I did not think that they went together very well. There were a couple moments where they got into a groove, but it would then dissolve back into a cacophony of jazzy drum and bass altered with loop and octave pedals.

When we first arrived at the venue, a young girl, around 14 or 15 years old, came up to us as asked which band we were there to see. When I replied Priests she told us that she was a student of one of the opening acts and would be performing with her during the set. She was also selling raffle tickets to raise money for Casa Rosa. The winner of the raffle would receive a woven piece of art that Mellow Diamond was to create live on stage. I had no idea what live weaving would entail, but I was certainly interested in the seemingly artsy act to follow.

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PREVIEW Priests @ 9:30 Club 12/01

BY KELSIE EHALT//

DC locals Priests will be ending the tour for their first studio album, Nothing Feels Natural, at the 9:30 Club on Friday December 1st. While they have only recorded one LP so far, they have been releasing music on Sister Polygon, the record label that they created, since 2012.

Nothing Feels Natural runs the gamut of genres, from surf rock track “JJ”, to spoken word on “No Big Bang”, but all the songs are tied together by a sound reminiscent of the post-punk Riot Grrrl scene of the 90’s. Appropriately, the album was originally recorded in Olympia, the birthplace of Riot Grrrl, before it was re-recordered in DC, another flashpoint of the scene.

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PREVIEW: St. Vincent @ The Anthem, 11/27

BY MAGGIE HENSIEN//

On Monday, November 27, St. Vincent will be returning to the District with a show at the Anthem as part of her “Fear the Future” tour.  The tour follows the October release of her fifth solo album, MASSEDUCTION. 

As the musical project of Annie Clark, St. Vincent has been creating works of art that have pushed the boundaries of not just the genre of alternative, but music as a whole.  The multi-instrumentalist is best known for her acumen as an electric guitarist, a skill she has been cultivating since the age of 12.  Clark kicked off her career when she joined The Polyphonic Spree in 2003 after dropping out of Berkelee College of Music.  Three years later, she joined Sufjan Stevens’ touring band, and released her debut album, Marry Me, shortly after her departure from the tour.  Among her other works are solo albums Actor (2009), Strange Mercy (2011), and St. Vincent (2014), the latter earning her a Grammy for Best Alternative Album, which made her the first solo female artist to win in that category in 20 years. St. Vincent also released a collaborative work with David Byrne of the Talking Heads, Love This Giant (2012), and made her directorial debut with XX (2016), an all-female directed anthology film.   

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REVIEW Flying Lotus in 3D at Echostage

BY MORPHEUS// November 5th – a date notable only for the ‘Gunpowder Treason and Plot’ wherein the inventor of the Guy Fawkes mask tried to blow up English parliament 400 years ago. It also happened to be the tour date of Flying Lotus’ obligatory stop in the capital– but unfortunately, there was no plot to blow up the venue. The only target of combustion was the audience’s eardrums, though I regret to say that all attempts at delivering smooth vibes and melodic violence fell on deaf ears so-to-speak.  

This big name concert began like any other big name concert: in a headliner-catching venue with high ceilings and at least four staffed bars. The bathrooms were quite nice. They were well staffed with restroom attendants offering paper towels to freshly relieved show goers. Apart from the sounds of Capitol Hill Yupps getting dusted in the stalls, it was a shining star of class inside the well disguised cardboard box that Washingtonians affectionately call E C H O S T A G E [styled ec4ostag3]. The place fills a niche and I have no complaints whatsoever about what Echostage is, does and represents. The only sign of objective depravity I found in the whole place was their barbaric “No Ins and Outs” policy.

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