- The Lacking Organization
- October 30, 2020
Supremely independent for going on three decades, Superchunk’s incisive nervous energy is still one of the purest indie highs you can find.
Kicking off Ink 19‘s new series, Labels We Love, S D Green talks to ZE Records co-founder Michel Esteban about defining a sound and establishing a label during New York’s 1970s creative zeitgeist, and the resurrection of the label that was once home to Lydia Lunch, Suicide, and Kid Creole & the Coconuts.
S D Green catches up with the sensational Ben Lamar from hip-hop-blues-brazilian band Juba Dance to discuss how fruit can be music, and how porpoises can be clever.
Animal Collective put the hip-pie in hip-ster, so why was the Orlando audience so ornery? S D Green ponders the lack of love at the concluding date of the band’s recent tour with Black Dice.
Modest Mouse are playing bigger and bigger gigs these days. Their recent sold out show at Orlando’s House of Blues is an example. S D Green questions their modesty in light of all this popularity and new personnel.
Dr. Dog‘s recent concert at Orlando’s Social conjures up both Frampton Comes Alive and Flavor of Love for S D Green. Believe it or not, this is a good thing.
S D Green sits down (in front of a computer) and chats with (emails) White Denim bassist Steve Terebecki. What follows is a conversation about their new album Fits, opening for ABBA, and Thomas Jefferson. Kind of.
Ron MacLean weaves a dream-like reality, exploring detachment and loss in his short story collection Why the Long Face?. S D Green conducts an unconventional interview with the author exploring, in part, technology’s impact on human interaction and contemporary literature. Does it work? You be the judge.
U.K. act Rumble Strips may have brought the rain, but their neo-ska tunes were all sunshine and big puffy “Clouds.” S D Green slogged through the downpour to catch a glimpse of the surprising source for Charlie Waller‘s big, big voice.
Operating in a genre dominated by paint-by-numbers R&B, Zaki Ibrahim paints soul — outside the lines — with a purple paint brush. S D Green talks to the emergent Canadian soulstress about globalism in her sound, the unlikely influence of Tom Waits, and why critics refuse to believe Canadian artists have soul.
With material co-credited to Paul McCartney, Jean-Philip Grobler‘s Kites has caught the attention of music industry luminaries. However, he’s intent to make music his way, in his own time, resulting in his current EP You and I in the Kaleidoscope. Three years to make an EP? Grobler talks about that misconception, and promises his next shot of arena rock won’t take so long, but warns it might include a full orchestra in St. Paul’s Cathedral. S D Green tries to harmonize with the former South African choirboy.
S D Green peels back the tuxedo and gets an earful — about celebrities living in cardboard boxes, Carrot Top pooing into a trunk, and even a little bit about Hamburger‘s new album, Neil Hamburger Sings Country Winners.
In the time it takes you to read this review, Tokyo Police Club can play an entire set of high-energy indie rock. S D Green tries to keep up with all the brevity.
Ultra Music Festival celebrates a decade as dance music’s spiritual soul. S D Green makes the pilgrimage to Miami, is lost, and then found.
Despite the obvious pitfalls of playing on a giant Transformer in a “backyard”, Aesop Rocks this block party-esque show at Orlando’s Anti-Pop Music Festival. S D Green was there to drink the $2.50 PBRs.
Caribou come to Florida to repay Canada’s debt for bands like Loverboy. S D Green was there to bear witness and soak up all the positive karma from this Canadian music renaissance.
Akron/Family bring their travelling circus to Orlando. They say “Love is Simple” but on this night, as S D Green found, their music proved anythying but.
Will’s Pub may have closed, but Sam Rivers’ monthly jazz workshop finds new life at the Plaza Theatre. S D Green finally figures out who put the bop in the bop-she-bop-she-bop.