If you listen to current jazz and its proponents, you’d think the landscape would be wrought with dark cynicism, mired in the sometimes tenuous relationship that jazz, in an attempt to stay in the millennial zeitgeist, has had to build with scenes like noise or experimental music. Scenes where a bleaker outlook is fostered at the expense of spiritual liberation.
Enter Kamasi Washington, a beacon in the modern iteration of jazz and avant garde music. He exists as a portal to another time where African dashikis and proud Nubian brothers holding spears atop wicker chairs, or black astral travelers conjuring up sounds rocking “spiritual tuning fork as headdress,” were the norm. With his band locked in with the force of a hadron collider and bursting with kaleidoscopic vision, the native Los Angeleno manages to bring together genres seamlessly with two highly acclaimed albums– 2015’s The Epic and this fall’s Harmony of Difference. While he has enough room in his heart for both Art Blakey and Grover Washington, both Wayne Shorter and George Benson, the key to this grand synthesis of sound, where orchestral moments like Epic‘s opening track “Change of the Guard” lift through the atmosphere only to descend gracefully, tapering out with an effortless cool that evokes a hungry Miles Davis, is simple: it’s in the power of the people. Continue reading →
For many rockers of color, finding films like AFROPUNK — James Spooner’s groundbreaking documentary about minority involvement in punk and hardcore movements — was and is a critical milestone in their development. As a young black and queer punk rocker immersed in the community, watching this film’s scenes unfold, bearing witness to ideas, perspectives, and experiences expressed in the film that were so wildly different, I realized something: each one of those perspectives, from both the youthful, energetic dayglo punk who “didn’t want to be defined by their race” to the raging political hardcore kid using the genre towards black liberation, at some point I had felt similarly, at least in part, to all of the interviewees. The lived black punk rock experience was given a voice. In that documentary’s wake the legions of weird yet still culturally impactful black music has practically given birth to new ways of discovering music through blogs and social media. This wave has infiltrated community centers and Shriners’ hallls, as well as taken to the stages usually reserved for all white bands.
Philadelphia is a city ripe for a black and brown punk reclaiming. Entire movements have thrived for more than a decade dedicated to promoting art and music by marginalized people. Enter Soul Glo, a band etching dark, interpersonal screeds on ancient parchment cut from the skin of the rotting corpse of hardcore punk. Their music travels pedal-driven through lush, dense shoe-gaze forests, bursting out of the other side screaming. Lead singer Pierce Jordan’s voice is an unmatched wail that snakes through the band’s wiry punk orchestration as a truly exhaustive vessel for his trauma-informed lyrics. While their name — taken from a parody product from the cult 80’s Eddie Murphy comedy Coming To America, said to give black folk luscious, wavy jheri curled hair — may come across as comedic, it’s important to remember that the moniker choice is all a part of the intricate cultural interplay and relevancy that truly revolutionary, unbothered and alternative black acts have traditionally embraced. From Parliament’s colorful renditions of life on the mothership to Odd Future’s notorious hyper-cartoon troll Tyler the Creator’s transformation into a living meme, there’s certainly room for jest in this revolution. The sentiment is most aptly put by an interviewee in the AFROPUNK doc when she casually intones: “I don’t feel less black because I’m less normal”
We sat down with Soul Glo to discuss the contradictions, struggles and even empowerment of speaking the truth of the black lived experience to a punk power structure that often values the social capital of whiteness over others. Continue reading →
Philly is one of those cities (the only city?!) that’s able to contain, harness, and release the unbridled energy of hardcore punk and strange outsider indie rock in the form of four impactful spring festivals and still have enough left to keep the summer righteously shredded.
We came together for Electrifest (queer POC experimental music fest centering LGBT health concerns), Get Better Fest (queerpunk fest put on by the folks at Get Better Records), Break Free Fest (an event centering black and brown hardcore acts) and of course, Philly Shreds (a showcase of punk bands from all over with a heavy Philly edge), but we are still rocking, still falling into our amps in damp, sweltering basements and rolling around in the free dumpstered bagel piles at our local community centers, screaming our hearts out, shouting down The Man.
This article seeks to chronicle the continued mayhem of the Philadelphia punk rock scene, seeking out both the upstart and lesser known bands and the tried and true favorites breathing new life into their sets, as well as highlighting how truly diverse our loud rock scene is. It is exhilarating to think that our community features women, queer / LGBT folks, and people of color playing prominent roles. Sit back and let the pretzel-flavored chaos reign. Continue reading →
Ramona Córdova‘s video for “Decision” opens with Angela Davis’s sultry, portentous voice lamenting the state of racial relations in 1960’s America, particularly police violence and housing discrimination against black people. Her words and Ramona’s use of them are portentous. As the video lurches through footage of hippies protesting it bleeds into stark bleached out film images of key moments in black history. “Decision” is a song about using your intuition to make loving choices– to stay, to go, and to live with these choices long after you’ve left the corporeal world. The songs contemplative nature is underscored by a marching, casio-fueled back beat that seems to hold together the wistful pop-folk. Despite a stark intrusion from a racist Willie Lynch quote, the video ends hopefully, awash in color, the people having made their choice to abandon the parts of them that are uninterested in liberation.
This kind of witchy imbalance and playful questioning has informed Ramona Córdova for the past decade they’ve been creating music. A multi-instrumentalist whose cultural background is a wonderful mosaic (Haitian, Filipino, Puerto Rican), Ramona embraces a nostalgiac sense of liberation through the dreaminess of the new album On Paper. The record is a buzzy, brilliant fever infecting listeners with its Flaming Lips-but-really good song writing. Ramona peeks through the lazy clouds of the act’s past efforts for a taste of modernity, albeit replete with a lo-fi orchestral scratch. A true angel with a voice to match, you can find Ramona Córdova on the one couch at your local community center, drifting through the dream state and the real world, at once absorbing the sight and sounds of west Philly’s queer bent indie scene and projecting an aura so vibrant genre can not contain.
We talked to Ramona about On Paper, the sometimes rough terrain of the larger indie landscape, and about the power in witchy energy. Join us! Continue reading →
As improbable a feat as this may seem, the still wet from the womb music promotions collective All Mutable has burned itself into the psyche of the Philly music scene with their daring vision of community and eclecticism. Even more improbable, they’ve managed to become one of the few promoters who force me– your friendly, neighborhood musical curmudgeon– to instantly smash “going” on all of the squad’s Facebook solicits even when I’m wildly unfamiliar with the bands they’re offering. Theirs is the ability to cultivate a strange, impossible oasis of color and sound within a sometimes diversity-barren landscape of independent DIY music.
While the group were all friends and music collaborators in various bands first– Jazz Adam from New York City, Nicki Duval from Connecticut, and Robin Meeker-Cummings from West Philadelphia (born and raised, naturally)– it is together with All Mutable that their true talents have reach an apex. While their roots are in experimental and noise music (and that aesthetic still rings true even as they expand), they’ve hosted raging punk noise outfits like Pinkwash, edgy afro-accoustic post-punk like Daphne, and minimalist drum and noise outfits like NAH under their umbrella and miraculously they’ve avoided any cross-genre clashing, eschewing the 10th grade mix CD model and have taken an approach that speaks more to the deliberate nature of their intention: freeing up class modalities and pushing forward with a futurist vision that is inclusive and liberating.
We sat down with the All Mutable squad for insight into their process, the origins of their name, and the future of DIY indie music Philadelphia and beyond. Continue reading →