Tag Archives: Spacebomb

Skyway Man

So I’m late to the party here, posting about a show just a few hours before it starts, but this Skyway Man album has my adrenaline racing. I’m on my first listen, and it feels like someone’s slowly reading off winning lottery numbers that keep matching the ones on ticket I’m holding. It’s bonkers… all the sounds I’ve been gravitating toward are here.

A few data points:

  • I picked up a copy of Cosmic American Music at the Numero Group’s pop-up sale at Strange Matter in April.
  • Thanks to an especially fruitful Goodwill haul, I’ve been heavy into gospel the last few weeks, from Sister Rosetta Tharpe to Billy Preston’s Gospel in My Soul album to early 1980’s Savoy Records stuff.
  • I’m also in the middle of a big William Tyler kick. A BK Music Instagram post prompted me to play Impossible Truth in the recovery room after my son was born a couple weeks back, and miraculously it was still there a couple of days later, along with his earlier Behold the Spirit album.
  • We named our son Ryland, so I’ve been making my way through my father-in-law’s Ry Cooder albums, marveling at how simultaneously timeless and of-their-time they sound, especially Borderline and “Why Don’t You Try Me.”

Seen Comin’ from a Mighty Eye is tailor-made for someone embroiled in exactly these obsessions, with the spacey aspects of Cosmic American Music, the voluminousness and spirituality of gospel, Tyler’s exploratory spirit, and references to early 1980’s production that remove songs from the present moment, like they’re wandering untethered by time. It’s all here, along with the signature Spacebomb sounds that consistently fill my heart with joy.

As mad at myself as I am for posting this so late — and as ashamed as I am that I haven’t been listening to James Wallace’s stuff all along — I can’t help thinking that Seen Comin’ from a Mighty Eye and I met at exactly the right moment. Many, many thanks to Alexandra Spalding for the heads up.

Doors open at Gallery5 tonight at 7. Twain and Big Kitty will be there as well. Click here for more info.

Skyway Man — “Wires (Donny Angel and the Opening Wide)” [Spotify/iTunes]

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American Tunes: “This Land Is Your Land”

spacebomb-roundtable

[Editor’s Note: American Tunes is a series of posts dedicated to songs that address America’s social and political challenges. For more information on the series, click here.]

On Tuesday, The Spacebomb Sound hosted a really candid and informative roundtable on race that aired on Red Bull Music Academy Radio. Tiffany Jana, Reggie Pace, Kelli Strawbridge, Devonne Harris, Cameron Ralston, and Matthew E. White participated, and while I’m not sure if audio is available to be replayed, RBMA just posted a fairly extensive transcript of the discussion. I hope you’ll read it and share — read to absorb the ideas and experiences that were relayed on Tuesday, and share to keep the momentum going so honest, substantive discussions like this one keep happening all over the country.

One song they played during the show was Sharon Jones’ version of Woody Guthrie’s “This Land Is Your Land.” I hadn’t heard her version until recently, but I’ve grown very attached to it in that short time. It’s amazing how much gravity her voice adds. Growing up, I didn’t realize how political the song was — depending on which verses people choose to include, it can still seem apolitical and/or downright hypocritical — but I had a conversion experience last year when Dave Rawlings Machine closed their November show at The National with it. The verse about the signs and private property and how signs say nothing on the back… I don’t know whether I hadn’t heard that verse before or if I just wasn’t listening intently, but when Dave Rawlings sang it, it felt powerfully subversive. Got goosebumps and everything.

Here’s how Jones sings it:

As I was walking, they tried to stop me
They put up a sign that said “private property”
On the back side, it said nothing
That side was made for you and me

Sharon Jones — “This Land Is Your Land” (Woody Guthrie cover) [Spotify/iTunes]

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Friday News and Notes

animal-collective

A few quick notes before the weekend. Just a warning: Things will likely get political on here next week, so let’s enjoy this carefree* moment while we can.

*I’m an anxious train wreck right now and Wednesday can’t come soon enough.

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Friday News and Notes

tiger-panda-fairy

Happy Halloweekend, y’all! Pictured above is Toddler YHT is dressed as your classic tiger-panda-fairy hybrid. Can’t wait for trick or treating. Until then…

I’m off to have a semi-serious conversation with Mrs.YHT about whether we should do the Jimmy Kimmel thing where you pretend you ate all your kid’s candy and videotape the reaction. I’m not that mean… am I?

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Friday News and Notes

moses-sumney

Fancy a few Friday news and notes thingies?

  • Today’s an awesome release day (hello there, Hiss Golden Messenger), but I left two crucial releases off last week’s list: White Laces (wrote about No Floor yesterday) and Moses Sumney. Lordy, is Lamentations good. I pretty sure I remember “Worth It” from when he opened for Sufjan Stevens at the Altria Theater — it went straight on my “That’s My Jam” playlist after I heard this version. “Lonely World” is also outstanding, with an assist from Thundercat. Well worth a listen, if you’re not already a Sumney fan. Or if you are. And since everyone on Earth falls into one of those two categories, there’s no excuse for not listening.
  • Some really great Spacebomb news — their newest roster addition, Georgie, just released a song called “Company Of Thieves” and a corresponding video that looks like it was really fun to make. This is some seriously punchy stuff, both in terms of the strength of her voice and the oomph the horns provide. More plz thx.
  • Next long run I go on I’m listening to the Bruce Fresh Air interview. Can’t wait. Also looking forward to reading his book. There need to be more hours in the day so I can do that like… now.
  • Goodwill scores this week include Wynton Marsalis’ debut album, the soundtrack for The Empire Strikes Back, and two spoken word Star Trek albums, which include three or four narrated episodes each. I’m not all that into Star Trek, but they looked too campy to walk away from.
  • Too much good music this weekend. Lucy Dacus (with My Darling Fury and Spooky Cool) at The National tonight and the Richmond Folk Festival all weekend. Here’s hoping the weather doesn’t act up too much — Stephen Lecky and the whole Folk Fest machine put in so much work each year, and it’s such a gift to the city. Stop by early and often, and be sure to throw a few bucks into an orange donation bucket. You’ll probably get a sticker, and you can wear it like a badge of honor.

I whined a little about the weather earlier, but if you’re in Florida/Georgia/South Carolina and you’re reading this, be safe. Here’s hoping the storm heads east and doesn’t circle back around.

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Matthew E. White

Matthew E. White

Guys. Guys guys guys.

Matthew E. White. Natalie Prass. DJ Harrison.

It’s like I’m watching Game of Thrones and two of the baddest-ass families — House Spacebomb and House Jellowstone — just joined forces. What’s a good analog… Tyrion advising Dany, maybe? I dunno, I understand about 5% of what happens on Game of Thrones. But I love watching it, and I love “Cool Out.” The beat… the interplay of Prass’ and White’s vocals… the cover art… love it all.

Westeros is never going to be the same.

Matthew E. White — “Cool Out” (feat. Natalie Prass) [Spotify/iTunes]

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Natalie Prass

Natalie Prass

At some point last year, I stopped writing about the shows I was going to. I’ve still been taking notes on my phone — quick bullet point observations of songs and performers — but I haven’t been committing them to blog paper lately. Last night’s Natalie Prass show was one hell of a wake-up call, however, and I can’t resist sharing this time around. Here are my notes as they would have looked if I’d been able to pull a Zack Morris and pause the show to wax rhapsodic about what I was seeing. (As a side note, I once told my parents during an episode of Saved By the Bell that I wanted to change my name to Zack. They didn’t oblige, which seems like the right call in retrospect.)

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