It’s a little after eleven on a Sunday night in mid-January as people crowd into the second floor of Issue Project Room, an abandoned silo overlooking the Gowanus Canal in industrial Carroll Gardens.
This has been one of my favorite albums over the past few months. Its food for my ears. Every time I listen to it, its like Im hearing the songs for the first time. This band is noted for its use of digital bleeps and chirps, but their real strength is a generous use of lush choruses and rich guitar work.
Pop-music geeks are fickle, hyper-opinionated boys and girls whose idea of a good time is endlessly debating such heady topics as, What’s the best Smiths album?
The phrase underground hip-hop has seen some tough times. Regardless of whether or not names like Wordsound, MF Doom, or Peanut Butter Wolf are in your daily lexicon, theres little denying that, for the casual enthusiast, its nearly impossible to distinguish hip-hops underground from the establishment it purports to be a reaction against.
Sometimes a band takes large steps early in its career and finds the sound it wants right away. Sometimes it reinvents itself slowly over the course of a few phases. But it’s rare that a band proceeds, in the space of just a handful or releases, through a definitive arc that swings from meditative minimalism to lush improvisation.