After their humble beginnings at Lewis & Clark College in Portland, OR, Dear Nora has stuck around for the long haul. The band has been producing its own brand of subdued folk-pop since 1999. In 2008, they disbanded. With the re-release of Mountain Rock last year, the fans latched back on and interest in Dear Nora was once again apparent.Ahead of their show on 3/2 at Park Church Co-Op, singer & guitaristKaty Davidson, also of Key Losers and Lloyd & Michael, shared a playlist of songs with AdHoc spanning her career as a musician.
"I made this playlist because I want to share a collection of my songs that are potentially lesser-known but are some of my personal favorites," Katie told AdHoc. "I’m including some stream-of-consciousness notes about each song—things that occur to me as I listen to them. I haven’t heard some of these songs in many, many years. All three of my bands are represented here."
Flesh World purvey a muscly sort of post-punk, spurred into gear by Scott Moor's high-octane, high-feedback guitar and Jess Scott's spat-out vocals. But the musculature that Flesh World flexes is not one of aggressive machismo, but rather one of corporeal connections fostered, a press release for the band has said, in the nurturting spaces of "the punk show, the gay world, and the rest of the environments Flesh World insulate themselves in for survival." They're a band threaded together by this bodily interaction—Flesh World's Jess Scott and Scott Moore met while "loitering around [San Francisco's] Panhandle district"—as well as a physical sound.
Flesh World's Jess gathered up some of their disparate influences into a playlist for AdHoc. Check out the lead single for their upcoming full-length Into the Shroud, out September 8 via Dark Entries, below, and catch Flesh World perform September 23 at Silent Barn with Home Blitz.
Jess Scott: The theme of this is strange girls from around the globe—artists active from 1956 to present, from Tokyo to Berlin to Australia to Montreal to Los Angeles, from women from prison camps to women in my living room. These are sounds from strange girls with strange histories, making everything from early French goth to italo to contemporary house to avant-garde compositions in strange places.
RIPS' self-titled debut packs the kind of fervent rock energy that used to define New York City's music scene. It's impossible not to see the influence of bands such as Television, The Velvet Underground, and The Feelies on RIPS' sound, which puts them in a similar NYC rock revivalist territory to Parquet Courts (it is no surprise to see that Austin Brown of Parquet Courts produced RIPS' self-titled debut on Faux Discx). Yet, while the band wears their influences like signs for CBGB around their necks, their playlist below highlights a diversity of influences that lies well beyond those easy comparisons to early 70s and 80s NYC rock mainstays.
Listen to some of the band's favorite tracks below and come see them play Baby's All Right on July 1 for their record release show.
Fear of Men, from Brighton, England, have spent the past month touring the US in support of Mitski. Before this stretch ends, the dream pop outfit will headline Baby's All Right on Sunday night, supported by both Toronto's Weaves and local bedroom pop breakout Yohuna. Ahead of this night, the band curated a playlist entitled British Miserabilsm, a hauntingly accurate title given the current state of both Britain and the US's political climates. Read what the band has to say below.
British Miserabilism: 1979-1989
The 1980’s was a bleak decade for the UK, blighted by a Thatcher government that greeted it and ushered it out. Preceded by ‘The Winter of Discontent’, a period of national strikes from 1978-79 which saw refuse left on the streets, blockades on hospitals, and bodies unburied, the country slipped into economic recession in 1980 and by 1982 unemployment had reached it’s highest figure for 50 years. By 1986 it hadn’t got much better, resulting in widespread rioting in 1986. It was against this backdrop that the bands forming in art schools across the country were making music, and a new expression of British miserabilism was formed, a nihilist post-punk movement with a set of aesthetic principles that would be adopted by artists throughout the decade and beyond.