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CHECK OUT THIS BAND | CHICANO BATMAN

5/7/2021

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CHICANO BATMAN is an eclectic INDIE ROCK outfit out of LOS ANGELES that has a real killer feel-good, laid-back vibe, almost like an after hours lounge band with killer FUNK / R&B chops and deft LATIN JAZZ percussion. the more i listen to them, the more i can suss out their affinity for 60s PSYCHEDELIA, POWER POP, PROG ROCK and all things CLASSIC ROCK with a distinctively diverse ANGELEÑO edge.

to my ears they sound totally original with a relaxing ambience that makes them the perfect antidote for the comedown from an energetic night out.

definitely worth checking out.

FILM REVIEW | PITCHFORK CLASSIC: SOUVLAKI

5/4/2021

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i first came across SLOWDIVE while watching GREGG ARAKI films like THE DOOM GENERATION (DESPERATE PICTURES, 1995) and NOWHERE (DESPERATE PICTURES, 1997). their sound had this ethereal atmospheric quality with soaring waves of looped feedback winding and unwinding itself around a floating female/male singing tandem mixed way back in the mix. it was the perfect audio bed for films about largely centered around reckless young adults and their ever-evolving identities, attitudes and emotions that seemed to swell and dissipate. that was pretty much when i got interested in SLOWDIVE.

the documentary SOUVLAKI (PITCHFORK, 2015) is an oral history of the seminal SHOEGAZE band as described by members NEIL HALSTEAD, RACHEL GOSWELL, SIMON SCOTT, NICK CHAPlIN and CHRISTIAN SAVILL, as well as CREATION RECORDS founder ALLEN MCGEE, producer CHRIS HUFFORD and mixer/engineer ED BULLER. it reveals the process behind the development behind their transcendent SOUVLAKI (CREATION, 1993) album and how the recently dissolved romantic relationship between HALSTEAD and GOSWELL informed the record. pretty standard fair for music documentaries.

what resonated with me was how they describe the scene at the time, pre-GRUNGE and BRITPOP, when bands like THE JESUS AND MARY CHAIN, SPACEMEN 3, COCTEAU TWINS and MY BLOODY VALENTINE were playing small gigs in rural ENGLAND. when the sound was still underground. the band itself was made of the decidedly INDIE HALSTEAD, who grew up in a household where music other than CLASSICAL was verboten, and two local GOTHS in GOSWELL and CHAPLIN; all agree on THE SMITHS. knowing that i can definitely hear a POST PUNK thread in their sound from GOTH ROCK bands like BAUHAUS (i.e. DANIEL ASH), JOY DIVISION, BERLIN-era DAVID BOWIE and SIOUXSIE & THE BANSHEES. they all used sound and looped effects to make deeply evocative music that resonated on both on an emotional and visceral level.

the documentary, like others in the PITCHFORK CLASSIC series, has the band members elaborate on standout tracks like "40 DAYS," "WHEN THE LIGHT HITS," "SOUVLAKI SPACE STATION," "DAGGER," and "ALISON." it also showcased BRIAN ENO's ability to serve as a catalyst for soundscapes that formed the basis for other songs as well. in ENO there is a figure that is purely interested in the creation of interesting sounds, period. he served as a catalyst during writing sessions with HALSTEAD, who hilariously and fortunately didn't know much about him at the time, and left. ENO's production techniques are fodder for another entry, so i wont go into that here, but needless to say his unconventional approaches and deep penchant for sonic experimentation is all over SOUVLAKI. it marks a new direction for the band which fascinatingly was influenced by DUB REGGAE and new AMBIENT acts at the time like APHEX TWIN. its all in there, you can definitely hear it.

in recent years the band has reformed and even released the stellar SLOWDIVE (DEAD OCEANS, 2017), but the SOUVLAKI record should not be missed by anyone. requisite listening for anyone interested in SHOEGAZE, INDIE ROCK, ALTERNATIVE ROCK or even AMBIENT or ORCHESTRAL music. really just great music for anyone moved by emotionally affecting sounds in general. at least it gets me every time, right back to being a teenager living in KUWAIT, an oppressive country with little freedom or ability for self-expression or creativity.

NOTE: also, the post-SLOWDIVE band MOJAVE 3 is also worth your time, although they are a completely different vibe altogether.

CHECK OUT THIS BAND | SHOPPING

4/23/2021

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i recently came across the BRITISH POST-PUNK / INDIE ROCK band SHOPPING and have come to appreciate not only their angular riffs and infectious circular melodies, but also their quirky and highly original videos.

to my ears their sound seems to split the difference between GANG OF FOUR and TWO DOOR CINEMA CLUB. its also a pleasure to hear and ENGLISH band that does not shy away from their native accents. too often that is the case, which is a curious phenomena dating back to THE BEATLES.

anyway, great band definitely worth checking out.

FILM REVIEW | PITCHFORK CLASSIC: IF YOU'RE FEELING SINISTER

4/13/2021

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sometimes bands just materialize organically.

that seems to be how SCOTTISH INDIE ROCK band BELLE & SEBASTIAN bubbled-up from obscurity as a cohort of local semi-serious musicians coalesced around the bedroom songs of leader STUART MURDOCH as depicted in the IF YOU'RE FEELING SINISTER (PITCHFORK, 2013) documentary. largely an oral history with band members STEVIE JACKSON, RICHARD COLBURN, ISOBEL CAMPBELL, CHRISTOPHER GEDDES, SARAH MARTIN, MICK COOKE, STUART DAVID as well as JEEPSTER RECORDINGS co-founders MARK JONES and STEFANO D'ANDREA and recording engineer TONY DOOGAN all contributing to the band's narrative, what becomes apparent is how these tightly constructed and highly literate songs became the focus straight away. fellow singer ISOBEL CAMPBELL was both a muse and a melodic counterpoint to that of MURDOCH. probably most important in that evolution was the addition of the more season local musician STEVIE JACKSON who helped provide a more polished sheen to the material which could have easily been construed as TWEE otherwise. in fact my argument is that BELLE & SEBASTIAN is kind of the middle point between THE SMITHS and CALVIN JOHNSON.

the music itself has a naive and intimate quality, as if written by a nebbish bookworm for a small audience of friends in a used bookstore. its almost anti-rock rock music. no swing. no posturing. just bare instrumentation with lilting, whimsically melancholic melodies draped modestly over. makes perfect sense that JACK BLACK's character in HIGH FIDELITY (BUENA VISTA, 2000) referred to them as "BELLE & SAD-BASTIAN." MURDOCH himself was once athletic and outgoing before he became unwell with CHRONIC FATIGUE SYNDROME and largely stuck to his home with his parents. the band proved a reason to get out, physically and spiritually.

in fact, the evolution of his songs largely follows this conscious reintegration into society, to a point. his songs blossomed as he began writing more and more about everyday observations that he made riding buses around GLASGOW on the way to band practice and local shows. the songs became about normal people from perspective the perspective of a nonparticipating outside observer. this in my opinion made the lyrical content that much more potent, songs became about complicated emotions from someone attempting to understand them as if for the first time. almost childlike. conceptually it is very similar to the creative work of BRIAN WILSON, in that the lyrics are a projection of an ideal and a desire to be like the characters in the songs. its almost tragic in a sense.

what i didn't know about their collective story was that they were chosen by a local college's music business class to be the focus of a semester-long project to promote a local act. when their album TIGERMILK (JEEPSTER, 1996) was recorded with promotional and administrative assistance from this class, the students in fact found representation for the group as they met with labels. it all actually worked! how crazy is that?

the more i learn about them the more they resemble THE SMITHS to me in that they signed with an INDIE label (JEEPSTER RECORDINGS) and didn't release singles from albums, didn't appear in press photos and basically didn't do interviews (ok so that last one doesn't pan out as MORRISSEY was a media troll before that term ever got coined). for MURDOCH and the group it was all about leveraging control on their fragile project with as little outside interference as possible, be that record companies, the media or the slippery uphill chase towards fame.

great documentary that offers a personal look at a great album by a unique band at the top of their powers. definitely worth watching if you are a fan of the band, INDIE ROCK or intellectually satisfying music in general.

"DEER GOD RADIO 120: STONES THROW RECORDS" LIVE TONIGHT AT 10PM EST ON MAKERPARKRADIO.NYC

4/11/2021

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join us TONIGHT at 10PM EST for an all new episode of DEER GOD RADIO on MAKERPARKRADIO.NYC with a playlist that explores the influential HIP HOP / R&B / INDIE ROCK / FUNK music that has come out via the iconic indie label STONE THROW RECORDS over the years.

past episodes of DEER GOD RADIO as well as other MAKERPARKRADIO.NYC shows like MAKE HER SPACE, NOWHERE FAST, THE SYNTHESIZER SHOW and CLASSICAL-ISH WITH NUTMEG are available here at the DEER GOD website.

and if you haven't done so already get the FREE PHONE APP for IOS/ANDROID and enjoy listening to MAKERPARKRADIO.NYC 24/7 at your convenience

BOOK REVIEW | "HIGH SCHOOL" BY TEGAN + SARA

4/5/2021

photo & text by nacrowe

adolescence sucks for just about everyone. its an awkward time where you are experimenting and essentially defining an identity that will carry over into adult life.

i can't even imagine the difficulty in negotiating those same issues while coming out, especially in the 1990s when this memoir takes place. in my opinion HIGH SCHOOL (SIMON & SCHUSTER, 2019) by CANADIAN INDIE ROCK duo TEGAN + SARA poignantly explores this emotionally-wrought minefield in an honest manner that makes this memoir a must-read for anyone gong through the same situation or seeks to empathize with such a journey.

i personally never went through this experience, but i have friends who did. especially when i attended high school in KUWAIT where anything HOMOSEXUAL-adjacent was literally a crime. in public there was always this front my friends had to uphold that seemed exhausting to me, CODED LANGUAGE and BEHAVIORAL TICKS manufactured in order to conceal their actual identity. this type of polari always fascinated and utterly horrified me despite the fact that it didnt directly affect me.

in the case of the TEGAN + SARA, their story is one of SELF-DISCOVERY and any concealing behavior they exhibited was largely to protect family, friends and the reputations of their partners. the word SHAME is never brought up once in the memoir (which is structured with alternating chapters by each sister that serve as insightful vignettes), and yet it seems to be a central theme. SARA especially is an advocate to the community, calling out her FAMILY, TEACHERS and such for their HYPOCRISY; yet she is closeted for most of high school.

it is through music that the sisters find a sense of agency and control over their own narrative. a sense of solace in that they can express themselves while still concealing in plan site their identity as members of the LGBTQ community.

given the potency of their frustrations, confusion and heartbreaks in not being able to be open about themselves (or even having a definition yet for their own sexual preferences) makes this the perfect book for teenagers be familiar with, irrespective of their own SEXUAL ORIENTATION. if anything it promotes empathy, compassion and understanding for the hidden experiences of others and makes you think twice when allowing someone to utilize hurtful language regarding a minority group because they dont appreciate PC culture (im looking right at you STATEN ISLAND, SACRAMENTO, NIGERIA, KUWAIT, MYANMAR, JAPAN, ALBANIA, VENEZUELA and all the other HOMOPHOBIC communities i've called home at one point or another).

HIGH SCHOOL should be read by everyone. can't recommend it enough. it is the rare memoir that seems entirely current to issues at stake globally right now regarding human rights and the common dignity we all deserve. all identities should be celebrate and cherished and this memoir provides an insight into that personal journey of accepting yourself at a point of emotional and physical transition we all go through as adolescents.

CHECK OUT THIS BAND | TALLIES

3/26/2021

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anything SHOEGAZE or DREAM POP, especially when it is well-constructed and executed, hits me right in the sweet spot. whether it is LUSH, NO JOY, SLOWDIVE, JAPANESE BREAKFAST, MY BLOODY VALENTINE or BEACH HOUSE, i enjoy discovering bands that make ethereal, impressionistic, guitar-based music that use feedback as a means of washing over and smothering you to blissful oblivion. that is a sonic experience i am always game for.

i cam across TORONTO's TALLIES recently and i could not be more taken by their intoxicating jangly yet echo-and-reverb-drenched sound. and then there is that voice. guitarist and vocalist SARAH COGAN is someone to look out for in the future.

great promising young band well worth checking out.

BOOK REVIEW | "SING BACKWARDS AND WEEP" BY MARK LANEGAN

3/22/2021

photo & text by nacrowe

SING BACKWARDS AND WEEP (HATCHETTE, 2020) is probably one of the more harrowing memoirs i have ever come across. its author MARK LANEGAN, gifted singer/songwriter and former frontman of SEATTLE ALTERNATIVE ROCK icons SCREAMING TREES, recounts an drug-addled existence that ranged from the 1980s through his final successful rehab stint in the early 2000s. and that addiction literally cost him everything he valued: relationships, collaborations, touring opportunities, friends, love, money. the list goes on and it is brutal.

there is no doubt that many who investigate this book are interested in the PACIFIC NORTHWEST INDIE/PUNK music scene that exploded in the early 1990s, of which LANEGAN was a central figure within. there is some ink here dedicated to his relationships with other participants such as KURT COBAIN (NIRVANA) and LAYNE STALEY (ALICE IN CHAINS), but the real dominant actor here is DRUGS. and by that i mean literally every make and stripe. COBAIN, STALEY as well as numerous other victims such as KRISTEN PFAFF (HOLE) and JEFFREY LEE PIERCE (THE GUN CLUB) are integral to his narrative in that they exemplify the cost of participation in this downward spiral of needless suffering.

LANEGAN is unflinching in his account and i have no doubt that writing this must have been cathartic. it also no doubt took courage to look at himself and unshrinkingly scrutinize his life's decisions and make them public without being patronizing or worse glorifying said behavior. he seems to be a reliable narrator as he relates how the ever-present threat of dope-sickness and withdrawal effectively corrupted his moral compass and led to a never ending search for a fix to maintain his equilibrium and all its attendant decisions that resulted in the suffering of others.

in HUBERT SELBY JR novels there is often an inverse character arc at play whereby as the individual descends into MADNESS, it is their affliction (FAME, POWER, DRUGS, etc.) that prevails in equivalent fashion. for me that is the feeling i get when considering the SEATTLE drug scene and its effect on several key participants in this book, COBAIN and STALEY being the prime examples.

there is a light and that is the MUSICIANS' ASSISTANCE PROGRAM that effectively saved LANEGAN's life. that and his ability to forgive himself and the capacity for other addicts to enable each other in recovery, here COURTNEY LOVE (HOLE) and DUFF MCKAGAN (GUNS N' ROSES) being such examples. you get the sense that despite the absolute depths of DEPRAVITY that drug addicts wade through, that there is an opportunity for RESTORATION. that we can always be REHABILITATED, RECONSTRUCTED and REINVIGORATED by our choices and actions moving forward.

contrary to what others may read into this memoir, i found it inspiring, compassionate and intensely optimistic. maybe this book is his way of paying it forward.

RECORD REVIEW | "OUT OF TIME" BY R.E.M.

3/17/2021

photo & text by nacrowe

while this is not the best R.E.M. album, OUT OF TIME (WARNER BROS, 1991) is very much one of those records i remember as a young kid (i was 7 when this was released) with songs like "SHINY HAPPY PEOPLE" and "LOSING MY RELIGION" became massive hits on the radio. in fact i initially took guitar lessons in first grade because i was to learn those two songs. ironically this was the mandolin-heavy record that guitarist PETER BUCK wrote when he was on sabbatical from the guitar, but that is neither here nor there. for me this record was very much the entry point into the world of making and playing music. sadly i quit shortly thereafter because my hands were not big enough to play barre and open chords, that came later in middle school. my father took up lessons instead with my guitar teacher and several continents, 3 bands and nearly 20 guitars later he's still playing and learning his way around the instrument on a daily basis.

so yeah, thats what this record represents to me: my childhood and getting excited about guitar-playing in general. i know for some die-hard INDIE ROCK fans "SHINY HAPPY PEOPLE" is kind of a black-eye in their discography as it marks a point of seemingly unadulterated commercialism, but i disagree. there is nothing inauthentic about celebrating life and being content with oneself. to me it is very much in keeping with what i interpret as the persona surrounding MICHAEL STIPE and his willingness to be vulnerable and see the good in people. in a sense i view it as a song about FAITH, you are searching out for the good in people despite the fact that such leaves you susceptible to pain. for me that song in particular is almost a the flip-side to that of the deep introspection and seemingly painful process of SELF-DISCOVERY and SELF-ACCEPTANCE at heart in "LOSING MY RELIGION." its almost as if that sense of openness only comes from a sense of acceptance of ones own shortcomings.

i think this album often gets overlooked because of it singles but it is well-worth revisiting. for me i hold onto it for sentimental meanings as it reminds me of my bonds with my father, which encompasses the better parts of my childhood.

FILM REVIEW | PITCHFORK CLASSIC: THE SOFT BULLETIN

3/9/2021

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in the mid 1990s THE FLAMING LIPS were band in flux. their guitar player, whose unique playing style defined their aesthetic, left them after one modestly commercially successful record and a follow-up that flopped. it was at this point that THE FLAMING LIPS did what few bands in danger of being dropped from a major label have the courage to do.

they got weird. like really weird.

THE SOFT BULLETIN (PITCHFORK, 2012) documentary is an oral history with THE FLAMING LIPS frontman WAYNE COYNE, guitarist STEVEN DROZD, bassist MICHAEL IVINS and producer/engineer DAVE FRIDMANN all testifying to their headspace at the time and how that informed the spirit of experimentation that resulted in the "parking lot experiments" and ultimately two of the most sonically ambitious albums of the 1990s, ZAIREEKA (WARNER BROS, 1997) and THE SOFT BULLETIN (WARNER BROS, 1999).

personally i just think it was some stroke of mad carnival genius that they even convinced (WARNER BROS to put out ZAIREEKA, a four CD set meant to be listened to simultaneously on separate systems, in the first place. i tried it once at a friend's apartment after work the summer after college and it sounded so foreign to me. it still sounds that way to me. but THE SOFT BULLETIN is another matter altogether, since guitarist RONALD JONES left the group they made the unconventional decision to make a guitar-less rock album. previous albums had either a lo-fi aesthetic in the vein of THE BUTTHOLE SURFERS or a more song-oriented fuzzed-out numbers not far from onetime label-mates JANE'S ADDICTION.

this guitar-less approach instead of resulting a sound that was cold, distant and inhuman like GARY NUMAN, they went the orchestral route, as in film soundtracks. it was like they went from videocassette to cinemascope. the palette widened and so did the level of lyrical and sonic ambition. all this was thanks to midi and a healthy dose of hutzpah at diving in the deep end of recording "dont's" with engineer FRIDMANN. like detuning keyboards from each other. who does that?

the documentary basically goes into lyrical content and basic production techniques in the standout tracks "RACE FOR THE PRIZE," "A SPOONFUL WEIGHS A TON," "THE SPIDERBITE SONG," "FEELING YOURSELF DISINTEGRATE" and "WAITIN' FOR A SUPERMAN," all fan favorites and staples of their legendary live shows.

what always gets me about THE FLAMING LIPS is the earnestness of their lyrics to the point of naivety which ironically cut the deepest. maybe its because they are so direct and unadorned that they bypass whatever bullshit meter we all have hardwired in our skulls. the music matches and even overpowers these ambitions, creating a loop that only amplifies and heightens the listener to their message. its an upbeat, celebratory record about deep despair. its quite a feat.

this documentary is well worth checking out if you are fan of the band or great INDIE ROCK and ALTERNATIVE ROCK in general. whats great about THE FLAMING LIPS is that in the intervening years they have only gotten weirder and more ambitious. im always interested in what they cooking up next.

CHECK OUT THIS BAND | EMPIRE OF THE SUN

3/5/2021

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my ongoing gripe with INDIE ROCK in general is its interiority and self-containment. it always felt low-stakes sonically as well as conceptually. seemed like people were reusing and reordering the same toys in the sandbox over and over again afraid of what their peers might think if they attempted something with a sense of risk or, dare i say it, ambition.

this is not the case with AUSTRALIA's EMPIRE OF THE SUN, a collaboration between LUKE STEELE (THE SLEEPY JACKSON) and NICK LITTLEMORE (PNAU) which on the face of it seems to be in danger of falling on its face with their gimmicky easter-influenced garb and iconography and over the top baroque artwork.

but it doesnt. the hooks are there and its kitschy without being lame in the least. in fact, it almost dares you to mock it because of its ambition. if you fall into that trap then the joke is on you for being a superficial moron.

EMPIRE OF THE SUN is an example of having ambition without pretension. definitely worth check out.

CHECK OUT THIS ARTIST | JOHNNY MARR

2/26/2021

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i know that JOHNNY MARR is an internationally beloved INDIE ROCK "god-like genius" whose work with THE SMITHS has made him an icon to millions. he has likewise also experienced an amazing career as a journeyman collaborator who has performed and recorded with everyone from THE THE, BERNARD SUMNER (of NEW ORDER), KIRSTY MACCOLL, OASIS, MODEST MOUSE, THE TALKING HEADS, BRYAN FERRY, THE CRIBS, JOHN FRUSCIANTE, THE PRETENDERS to even the noted film composer HANS ZIMMER.

i think what gets lost in that extended discography is the creative streak he has been on with his solo career for the past decade. if you havent done so already, definitely check out and investigate the man's solo work. then again we are talking about JOHNNY MARR here, it was already ordained to be great.

can't believe this actually happened but THANK YOU so much to JOHNNY MARR for reposting us on twitter. it is definitely the coolest thing ever and we appreciate it.

CHECK OUT THIS BAND | ROYAL BLOOD

2/19/2021

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there has been a number of bands over the years that have been influenced by the sonic minimalism of THE WHITE STRIPES and the two person setup they popularized. i'm not saying they invented that format, but there is no doubt that other artists like DEATH FROM ABOVE 1979, THE BLACK KEYS and ROYAL BLOOD definitely took notice.

ROYAL BLOOD to my ears sound like a more polished version of the aforementioned (and previously profiled HERE) DEATH FROM ABOVE 1979 with a similar BASS/DRUM/VOICE triumvirate of sonic assault as opposed to the GUITAR/DRUM/VOICE of THE WHITE STRIPES and THE BLACK KEYS.

who knew a bass guitar with an octave pedal and cave man drumming sounded so HUUUUUUGE. definitely worth checking out.

SPOTLIGHT | SONG EXPLODER

2/17/2021

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because the experiential nature of music is such an ephemeral and almost primitive phenomena, there is a tendency for listeners to pretty much take it for granted. as if music was always there. unlike filmmaking, the process of MUSIC PRODCTION is a bit of a mystery to the layperson, an almost alchemical process.

when i began consciously listening to PODCASTS almost ten years ago on a regular basis, the ones i was drawn to had a sense of playfulness with the platform itself. the sound design on something like NPR's RADIOLAB is so palpable and convincing that it is easy to be swept away into an alternate reality where you are swimming with red blood cells or strata of light waves.

likewise the ongoing PODCAST SONG EXPLODER is another podcast with incredible sound design. it is a meta in that it is a podcast about sound, specifically how songs are constructed. podcaster HRISHIKESH HIRWAY basically deconstructs songs with the help of the artist down to their base elements and explains how the piece fit together. you get a real, visceral sense of the artistry and technical wizardry involved with modern music production and how such has enabled songwriters. its incredibly informative and because of its well-sequenced and thoughtful presentation, SONG EXPLODER makes you appreciate the process on a deep intuitive level.

its is quite the experience and i recommend listening to the podcast for anyone interested in music production or with an interest in art. recently SONG EXPLODER expanded into a NETFLIX show but my preference is still the podcast.

"DEER GOD RADIO 114: GREG KURSTIN PRODUCTION" LIVE TONIGHT AT 8PM EST ON MAKERPARKRADIO.NYC

2/14/2021

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join us TONIGHT at 8PM EST for an all new episode of DEER GOD RADIO on MAKERPARKRADIO.NYC focused on the incredibly successful music production career of GREG KURSTIN.

past episodes of DEER GOD RADIO as well as other MAKERPARKRADIO.NYC shows like MAKE HER SPACE, NOWHERE FAST, THE SYNTHESIZER SHOW and CLASSICAL-ISH WITH NUTMEG are available here at the DEER GOD website.

and if you haven't done so already get the FREE PHONE APP for IOS/ANDROID and enjoy listening to MAKERPARKRADIO.NYC 24/7 at your convenience!

SPOTLIGHT | MOOG SOUND LAB

2/3/2021

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at the moment we are living in an age where amazing live performance series, past and present, are all becoming newly available on YOUTUBE. its pretty cool.

MOOG SOUND LAB is a discontinued live performance series based around, you guessed it, the analog synthesized wizardry of ROBERT MOOG's machines and features various artists from the world of INDIE ROCK, ALTERNATIVE HIP HOP and AVANT-GARDE POP. in essence it serves as sonic evidence of the wide-range of moods and sounds available through the gear.

definitely worth watching if you have an interest in analog synths and their unique multitude of sonic applications.

"DEER GOD RADIO 113: 2000s ROCK REVIVAL" LIVE TONIGHT AT 8PM EST ON MAKERPARKRADIO.NYC

1/31/2021

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join us TONIGHT at 8PM EST for an all new episode of DEER GOD RADIO on MAKERPARKRADIO.NYC focused on the ROCK REVIVAL of the early aughts.

past episodes of DEER GOD RADIO as well as other MAKERPARKRADIO.NYC shows like MAKE HER SPACE, NOWHERE FAST, THE SYNTHESIZER SHOW and CLASSICAL-ISH WITH NUTMEG are available here at the DEER GOD website.

and if you haven't done so already get the FREE PHONE APP for IOS/ANDROID and enjoy listening to MAKERPARKRADIO.NYC 24/7 at your convenience!

CHECK OUT THIS BAND | OSEES

1/29/2021

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OSEES (or is it THEE OH SEES or OHSEES or even THE OHSEES?) is just a great, ever-evolving, balls-to-the-wall ROCK N ROLL band well worth checking out. noisey, lo-fi, fuzzed-out glorious experimental abandon straight out of the BAY AREA.

youre welcome.

SPOTLIGHT | 2 METER SESSIONS

1/13/2021

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its really cool the stuff that is being released on YOUTUBE these days. since 1987 the DUTCH television live performance series 2 METER SESSIONS has been film/recording/mixing one session a week of upcoming musical talent. as you can imagine, the variety and scope of these recordings has grown immeasurably over the years and there has been a slow trickle via their YOUTUBE channel releasing the more memorable performances.

everything from BURNING SPEAR, BECK and YEASAYER to SEPULTURA, NADA SURF and even NIRVANA.

definitely look these vintage performances up if you have the inclination. definitely worth the effort.

CHECK OUT THIS BAND | THE XX

1/8/2021

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the ENGLISH INDIE ROCK trio THE XX has always hit a sweet spot for me. i know they are celebrated on the other side of the ATLANTIC and have even won a MERCURY PRIZE, but really none of that matters much.

they just make highly affecting music which seems to be a progression on the expansive emotive soundscapes created by past bands like RADIOHEAD, THE PIXIES and MASSIVE ATTACK. definitely check them out as well as the solo work by member JAMIE xx.