Local CD roundup: Nightinghales, Black Blondie
Nightinghales
Black Blondie, Do You Remember Who You Wanted To Be
(self-released)
-1_1_jpg_627x1000_q85.jpg "Black Blondie CD cover")
The name Black Blondie implies it all: A mixing of cultures, an aesthetic juxtaposition, and a playful sense of self-awareness. Fittingly, the group's debut album, Do You Remember Who You Wanted To Be, cycles through jazz, funk, hip-hop, soul, and pop—with any or all of them appearing on a given track. It’s a masterful mixture, consolidated and controlled. From an emotional standpoint, these are often purposefully sour songs, written in minor and diminished keys with lyrical content that’s equally sullen—“I love you not for the buzz, but for the taste of strychnine,” sings Samahra Daly on "For The Taste." But then there are the sweet spots. A melodious riff in the otherwise bitter “Hunger,” for instance, is pure candy. These moments act as acoustic peroxide, frosting the top of a dark body of music, and—because the ear is constantly wondering what sound will come next—making Do You Remember irresistible.
Grade: A-
Upcoming shows: April 9, The Whole Music Club (Making Music conversation series); April 17, The Triple Rock Social Club (CD release); Lil' Black Blondie (a drum-and-bass set featuring the band's instrumentalists), April 19, Red Stag Supperclub
(self-released)
The name Black Blondie implies it all: A mixing of cultures, an aesthetic juxtaposition, and a playful sense of self-awareness. Fittingly, the group's debut album, Do You Remember Who You Wanted To Be, cycles through jazz, funk, hip-hop, soul, and pop—with any or all of them appearing on a given track. It’s a masterful mixture, consolidated and controlled. From an emotional standpoint, these are often purposefully sour songs, written in minor and diminished keys with lyrical content that’s equally sullen—“I love you not for the buzz, but for the taste of strychnine,” sings Samahra Daly on "For The Taste." But then there are the sweet spots. A melodious riff in the otherwise bitter “Hunger,” for instance, is pure candy. These moments act as acoustic peroxide, frosting the top of a dark body of music, and—because the ear is constantly wondering what sound will come next—making Do You Remember irresistible.Grade: A-
Upcoming shows: April 9, The Whole Music Club (Making Music conversation series); April 17, The Triple Rock Social Club (CD release); Lil' Black Blondie (a drum-and-bass set featuring the band's instrumentalists), April 19, Red Stag Supperclub
Nightinghales, No Looking Back
(self-released)
Without backing themselves into a cover-band corner, Nightinghales successfully channel that immaculate sonic pining of late-’60s/early-’70s influences like The Kinks, early Rolling Stones, and The Velvet Underground on their third album, No Looking Back. Still, their sound isn’t retro so much as gladly nostalgic, offering the ease of a buoyant semi-sadness fueled by Telecaster guitars, the infectious piano of Steve Bakken, and the comfortable lead vocals of Ben Sommers Bachman. Sincere and energetic, the track “Don’t Pretend” kicks off No Looking Back with accordion blending into the band’s already rich palette. Gradually, the record eases into more aching songs like “Buddy Wooly,” a harmonious ’60s-tinged sigh-inducer, and the “The Longest Road,” an exceptionally well-executed alt-country ballad complete with slide guitar and the overlap of melancholic voices.
Grade: A
Upcoming shows: April 10, Hexagon Bar (CD release); April 18, 331 Club; May 8, Stasiu's Place
(self-released)
Without backing themselves into a cover-band corner, Nightinghales successfully channel that immaculate sonic pining of late-’60s/early-’70s influences like The Kinks, early Rolling Stones, and The Velvet Underground on their third album, No Looking Back. Still, their sound isn’t retro so much as gladly nostalgic, offering the ease of a buoyant semi-sadness fueled by Telecaster guitars, the infectious piano of Steve Bakken, and the comfortable lead vocals of Ben Sommers Bachman. Sincere and energetic, the track “Don’t Pretend” kicks off No Looking Back with accordion blending into the band’s already rich palette. Gradually, the record eases into more aching songs like “Buddy Wooly,” a harmonious ’60s-tinged sigh-inducer, and the “The Longest Road,” an exceptionally well-executed alt-country ballad complete with slide guitar and the overlap of melancholic voices. Grade: A
Upcoming shows: April 10, Hexagon Bar (CD release); April 18, 331 Club; May 8, Stasiu's Place
