The intro riff is sooooo deep and thick and filled with groove, I love it. I hope one day they re-release an “alt mix” version of this record that pummels. I’m just gonna add that I think this whole album was underrated due to its mix (my opinion obviously). I can see these dudes writing this song as teenagers and it being just as rad and rowdy then as it was when they tracked it. It’s tough, melodic and fast which you don’t get that combo a lot from Quicksand. This song hits me like a song off the Snapcase record, Progression Through Unlearning. There’s also bass chords throughout most of the song, who does that!? So ripping. It’s as if the song was giving us a taste of what Handsome was going to sound like in the future.
This song has such a heavy groove from start to finish. Since we knew ÆGES vocalist/guitarist Kemble Walters is a fellow Quicksand fan, we asked him for a list of the NYC post-hardcore legends' 5 most underrated tracks from their discography. Seen/heard below, ÆGES' latest release is a "Colors," a single packed with twin-guitar and vocal harmony lines, pulsating rhymthic turns, and a big chorus: Originally started by musicians from such groups as The Rise, Shift, and Pelican, the combo has dropped records on The Mylene Sheath, Another Century, and Hawthorne Street Records. Keep the servers humming and help us continue doing it by pledging your support via our Patreon page.ÆGES is a Los Angeles-based band that has been penning hook-driven post-hardcore anthems for close to a decade now. Aquarium Drunkard is powered by its patrons. Lagniappe Sessions Archives / imagery via d norsen | photos by Julia Dratelįor heads, by heads.
That night I had my first grilled pimiento cheese sandwich - Cameron Knowler made my first PB&J on our first night of tour - and after Rosali played this song, I said to her: “Guess what I was doing during the last song.” “What’s that?” “Crying!” We came straight from two nights of camping on the way from Houston. Incredibly, on short notice, Rosali let us play a show with her in Columbia, South Carolina. We toured as two and sometimes three acts. Summer 2018 was my first real tour, which I self-booked. Eli Winter :: Something On Your Mind (Karen Dalton)Įver since I realized that my album release show is my 200th-ever concert, I’ve been thinking about my past concerts and tours, which my tourmates and I have largely booked on our own. I’m thrilled to play it and conscious of the guitar’s inability to represent it with faith. “Til Dreams Come True” feels like JS at her most potent. I’d lie in bed thinking about “The Kiss” and cry. I was so moved I’d lose sleep at night turning the music over in my head. One of the most powerful listening experiences I’ve ever had was listening to Judee Sill for the first time. Eli Winter :: Til Dreams Come True (Judee Sill) Arranging “Good Before” felt like an interesting way to build a bit of their world with the tools I have on hand. Maria’s voice gives me chills, their guitar playing helps me rethink my own, their lyrics are spare and quietly brilliant (“It’s hard to do good with controlled intentions / Honesty thrives in a broken sentence”), and their music is beautiful and purposive. It makes me think, maybe anachronistically, of so much music I love in Chicago: Mute Duo, Natural Information Society, Jordan Reyes, ONO… Eli Winter :: Good Before (Maria BC) Cherry’s music strikes me across the board as inquisitive, learned, never unafraid to be itself, and this is no different. Blackwell’s drumming anchors Cherry’s explorations on piano and pocket trumpet with surprisingly melodic quicksand. It’s arresting, cool and strange, and try as I might, I haven’t found anything else about it. “Arabian Nightingale” closes a fifteen-minute four-song medley that opens Don Cherry and Ed Blackwell’s last record of duets, El Corazón.
Eli Winter :: Arabian Nightingale (Don Cherry and Ed Blackwell)
For his debut Lagniappe Session, Winter applies his solo guitar to a set of songs by Don Cherry and Ed Blackwell, Maria BC, Judee Sill, and Karen Dalton, suggesting the songs said angels might wordlessly sing. On his third album, Eli Winter, the Chicago guitarist leads an ace cast of contributors, including Cameron Knowler, Yasmin Williams, David Grubbs, Ryley Walker, jamie branch, and more, through compositions that gently serve as music for times when, “God is busy or silent or absent,” leaving angels “to pick up the slack,” to borrow a phrase from James Toth’s evocative liners. Something given or obtained as a gratuity or bonus.
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