Showing posts with label war on drugs. Show all posts
Showing posts with label war on drugs. Show all posts


One Month To Joy


Another year... another SXSW to endure via social media. I used to be jealous of SXSW attendees but that was before SXSW went ultra corporate and Austin, TX became old hat (except for the BBQ, which I need to get with, I admit) and Buffalo now hot shit, so now really it's just a question of weathering the tsunami of SXSW Tweets now clogging up my Twitter feed (@BfloDude - feel free to follow) from all of the music writer types I follow as an amateur music writer type. If I have to read one more Tweet about how much of a slog SXSW has become, or how much hard work it is to take in so much live music... so help me God, I might chuck it all in and listen to mainstream country music. And worse, we're getting nailed by our second blizzard in three months, and that's not helping at all... but wait, it's not all bad because we're one month away from one of the best weekends of live music Buffalo might ever see.

Yes, exactly one month from today, Buffalo music fans (and music writers) will be putting themselves back together after St. Vincent plays Asbury Hall so they can hit up the Town Ballroom for The War on Drugs, in town to flog their hotly anticipated third album Lost In The Dream. How the stars aligned so perfectly I cannot say, but having two of the most incandescent indie rock acts IN THE WORLD playing our city back to back is serious business, and maybe even proof that Buffalo might well be hot shit. If nothing else, thinking about the awesomeness lurking around the corner a month from now is enough to warm me up and be a light at the end of this dark tunnel stretching ever longer. In the meantime, however, there's St. Vincent's excellent eponymous fourth album to savor, the new War on Drugs album out next week, and their pleasantly wry yet joyful video for "Red Eyes" that's clearly influenced by the videography and filmography of Talking Heads.


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See, didn't that make you feel all warm and fuzzy inside?* Indeed, SXSW will be over soon, our never ending winter will finally end, and an incredible spring of live music will be here before you know it. One month to go.

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* If that little kid in the plaid shirt jamming on air guitar with the band didn't make you smile, you are dead inside. Dead, dead, dead inside. Good luck with that, hater.

Cliff Parks 


Album Review: The War on Drugs - Slave Ambient



We are almost at the 3/4 mark of 2011 and my top albums of the year list seems to be close to 10 deep.  Add The War on Drugs' sophomore release, Slave Ambient, to that list.  The Philadelphia group blends psychedelic drones and with touches of Americana, creating an album that both shoegazers and troubadours can bond over.  Album opener "Best Night" sounds like Real Estate given a shot of adrenaline, well maybe at least a bit of caffeine, and a splash of electronic haze.  The equally enjoyable "Brothers" sounds like the best song Kurt Vile never recorded as his solo album, Smoke Ring for My Halo, bears a striking resemblance to many of Slave Ambient's more laid back numbers. And wouldn't you know it, Vile was a founding War on Drugs member.  It all makes sense now.

Throughout the album's most placid moments, lead singer Adam Granduciel's vocals are Dylan, Petty, and the aforementioned Vile like, while when the band really gets going, Richard Ashcroft ( The Verve) and Dan Boekner (Handsome Furs/Wolf Parade) can be heard in Granduciel's delivery.  The synths that open "Baby Missiles" shine and shimmer, while the heartland sounding harmonicas that come and go throughout the album give the blistering tune a rollicking rootsy feel.  The M83 esque "The Animator" gives listeners a chance to chance to catch their breath as dreamy synths and a breezy, subdued sax flow effortlessly into tension building "Come to the City". 

The instrumental "Original Slave" give way to the album's most stripped down track.  Slinky electronic guitars subtly weave in and out of the mostly acoustic based "Blackwater" while delicate xylophone notes and one final blow of the harmonica lead the track, and album for that matter, to a sudden, yet blissful end.   



mac mcguire