After Nora Keyes on Friday! Lilys, Human Television and Electro Group
Posted by Fools Foundation on 2006-07-05 1:05:38am
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Lilys

Lilys henchman Kurt Heasley is a bit of a musical thief. It's hard to mind, though, because he steals so artfully, intelligently mining the best of pop music with nary an ounce of shame. The Lilys (essentially just Heasley and whoever he's playing music with at the moment) first emerged as part of the early '90s DC lo-fi pop scene that produced Velocity Girl, Black Tambourine, and the Slumberland label, making music heavily influenced by My Bloody Valentine and shoegazer rock. After the first Lilys album, In the Presence of Nothing, Heasley underwent the first of many stylistic skin-sheddings, transforming his project into a British Invasion band circa 1967. He has since also tried his hand at cool atmospheric dream pop, Phil Spectorish wall-of-sound style pop, and '70s Krautrock, among other styles, but his favorite influences without question are the seminal British bands of the late '60s, especially The Kinks, The Who, and The Zombies.

In fact, many of Heasley's mid-'90s gems could be lost Ray Davies tunes. But for 1999's Zero Population Growth, part of Darla's Bliss Out series, he threw all that out the window, teaming with DC artists hollAnd and the Heartworms Archie Moore (ex-Velocity Girl) for a tribute to Krautrock, Neu! and Kraftwerk. The record takes you on the same kind of offbeat, electronic wanderings as the great D?sseldorf duo's genre-defining, hypnotically minimal robot-pop, also echoing other electronic pioneers like the Silver Apples and Gary Numan in the course of its gentle journeys of blips and bleeps. Check out the album (where you can find "The Escape") if you've forgotten what the future sounded like a quarter century ago.

Human Television

May 2006 - Spin
Whether it's 1986 or 2006 makes no difference to Human Television, whose uncannily melodic jangle pop is reminiscent of the Smiths and the Wedding Present. It's easy for these anglophiles to blur the tangibility of time, considering they furbish their songs with a layer white noise humming along at a brightly monotonous frequency, much like a dull glow radiating from the telly. Their debut LP, Look At Who You're Talking To, comes off slightly discordant and distorted, disorienting in its brilliant manipulation of simplistic song structures.

By moniker alone, Human Television want you to know there's more to their music than minimal pop. Frontman Billy D. chose the name after reading an article that described human televisions as those detecting light and sound beyond normal ranges of perception. And this Philly-via-Gainesville group do come off as perceptive, often even erudite. They met at the University of Florida, and while they spent their days as co-eds wheeling chiming guitars instead of Gator pride, there's still a touch of barely-legal college hedonism to their aesthetic. It's unclear if Billy D. hasn't passed a drivers test or if he can't find any venue for lusty encounters more private than a transit depot, but when he encourages his love interest to meet him at a bus stop on "Inconsistent," Human Television distance themselves from their cynical and lovelorn British brethren and establish their undeniable boyish charm.
:Don't miss out on this magnificent show Friday night kiddies....

Electro Group

Beautifully melodic indie-dream-pop goes toe-to-toe with wall-of-noise sonic dissonance.
Ethereal vocals are woven into a tapestry of distortion and catchy pop wizardry. Reminiscent of "Loveless" and "You Made Me Realise" -era My Bloody Valentine, this trio takes the late 80's shoegazer sound a step into the future with driving, off-timed drumming (think more recent Unwound), and electronic loops, moog and surrealistic samples mixed into the layers. Falsetto vocals and intermittent guitar jangles tip a hat towards the solo albums of Syd Barrett. Seriously gorgeous music from Northern California's new noise pop kings.
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:NORA KEYES is a singer, organist, and artist who grew up in a haunted house in Los Angeles. At an early age, she was forced to go to school in the inner city whereby she was chased around the playground by vicious gangs. Because she is small, she had to learn hand to hand combat with her teeth and nails. Aside from singing with The Centimeters, she also performs alone; just her and her portable church organ. The music she plays is what you'd expect from decomposing convalescent home cadavers wrapped in old velvet curtains. It is mournful, it is wailing, and it is the songs of the downtown L.A.; cockroaches on a steamy, foggy night before all the buildings crumble and fall under their own weight and history. A history that only the roaches, moths, and silverfish are privileged to...and Nora's church organ.
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:While some believe that Nora is a cranky old lady, I?m inclined to think of her as a sort of broken phonographic, scratchy recording of the history of L.A. Not the cheery, orange tinted vision but the one that only gurgling water bugs sing about at night to their children. Think Lizard people in the drainage pipes, dancing in rotted ballrooms, burritos that spit semen at children, Norma Desmond as a dirt caked mascara monster bag lady, Asian businessmen picking apart their cuticles and you get closer to the picture. You see, this is all L.A., but not the kind that Scientology (they own Hollywood so therefore all media everywhere) would want anyone, especially you, to know about.
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:When not singing in The Centimeters or on her own with her portable crying church organ, she makes pen and ink drawings in her parlor with her Finger people puppets and Ruby the Iguana- who recently escaped for four days because her cage was new.
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: Madame P is the latest musical incarnation of italian artist Patrizia Oliva. In the past she was a co-founder and member of the seminal all-female band Allun. She was also a member of Rosas Y Tulipanes duo along with Luca Pagani, guitarist of the alternative rock back Viclarsen. Recently she also started collaborations with Luca Sigurt in the highly experimental project Macaya, and with Tommaso Rolando and Marco Ravera, guitarist and double bass player of the acclaimed jazz/fusion band Calomito, in the impro/jazzy combo Toba. A few self-released EPs and a long series of successful concerts rapidly brought her among the most promising female italian acts. Her official debut album was released in Germany by Cold Coffeine Addict in November 2005. A noisy collaboration with The Afeman, a.k.a. Andrea Marutti, was released in April 2006 on Afe Records. Her live sets are focused on the wide range of her vocal techniques: she experiments with her voice sampling it in real time, feeding the result through various effect units along with contact microphones and other minimal electronic devices. She is currently working on her second album which will be released later during the year.
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:A toy xylophone on a cinder-block stand and a guitar stood before a pink, embroidered backdrop. A strange figure with a long mullet and enormous, billowing mutton chops took his place at the setup. He wore purple smears of paint on his eyes and a brown polyester suit with bell-bottoms. As the lights went down, he gently strummed repetitive chords on the guitar with hypnotic steadiness.
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:This was Dead Western, the solo project of resident baffler Troy Mighty, who also plays horns in Sacramento?s free-jazz ensemble Living Breathing Music. The crowd gathered, with many sitting down on the floor as Mighty started to sing low, moaning like a netherworld Morrissey. ?I?ve got a spaceship in my garage. / It?s been sitting there too long. / I?ll fly away someday ? / I can be my own best friend if I need to be,? he sang. Pained expressions crossed his face. Mighty closed or rolled his eyes, stuck his tongue out, tilted his head back, took on slack-jawed tranced-out expressions, and generally looked completely unhinged. With eerie simple melodies on the toy piano and guitar, absurd lyrics and sans-lithium charisma, Mighty kept the audience?s attention.
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