Posts Tagged ‘Jeff Tobias’

Jeffrey Alexander + The Heavy Lidders – “West Ellet Fadeaway”

Caught The Heavy Lidders last weekend in the first feasible show I’ve been able to attend in seven month. Its good to be out watching it happen in the flesh, even if its 10 feet from anyone else in an Upstate NY farm field while it happens. The band was cut down to the core of Alexander, Jesse Sheppard, and Scott Verrastro but even with the austere lineup they brought a storm of psychedelic fury. On their first release propper The Lidders are fleshed out between 4 and 5 with extra help from Eklhorn’s Drew Gardiner, Headroom shredder Kryssi Battalene, and Sunwatchers’ Jeff Tobias on sax. The air is thick with ash and amplifer fallout here and there’s a feeling that the band may tear it all down at any moment. The good news is that this is just the first from the band, with rumblings of more Lidders on the way soon. For now, the high-tensity jet fuel burn of “West Ellet Fadeaway” and the rest of this zone out on Baked Tapes will just have to tide you over.




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Modern Nature

Following up the eponymous 12” that established Jack Cooper’s new band earlier this year, Modern Nature cements their status with their debut LP, How To Live. The record’s been touted as a cross-section of where the country meets the city – folk forms grafted to a skeleton of motorik pulses and ripples of jazz skronk. There’s also a heavy permeation of cosmic waves that find their way into Modern Nature’s DNA. The band, and Cooper, are careful not to pack to much into one particular song, though. This is a progression, a journey from chaos to meditative ease (relatively speaking). The fluctuations happen organically, in waves and cycles throughout the album. Opening with the organic mew of cello strings, the album massages the darkness that UK-centric folk groups like Pentangle, Fairport Convention, and Incredible String Band carried with them into the crevices of propulsive pop.

Cooper paired up with Will Young (BEAK>, Moon Gangs) for this album and he’s given the songs the wash of rhythm that sneaks in through the fog of folk. Young adds rusted tin atmospheres, the rumble of rails, and the bustle of cityscapes to each song. When the urban life decays and fades, Young helps harness the brokenness and isolation of life change. The band’s namesake song might be their most pop performance, a bubbly and bittersweet hook to hang the album on, but it surrounded by more scarred samples. The haunted “Oracle” is gaunt and unsure. “Nightmares” is, in contrast to its title, surprisingly serene and reassuring, a break through the dark into dawn, but it also shies away from the light.

Its easy to trace back pieces of Modern Nature to previous Cooper-led bands. The pulses found their way into Mazes’ “Skulking” and “Salford” rise up here, and the melancholy and hope that drove Ultimate Painting holds strong as a centerpiece of the new group. Modern Nature finds its brilliance in balance. The essence of the album hangs over crowds like collective breath in cold air – one with the ether while the city moves below. The album has the kind of feeling of a passenger locked into thoughts so deep they forget to disembark the train until it hits the last destination and as we and they stumble out into the cold sun of spring there lies the the ocean, lappping listlessly, but still sparkling with the cold light of morning. This is an album about forgotten firmaments, and changing centers. Its an album ever in transition and we’re all just trying to hold on, or let go, whichever seems most appropriate.



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Modern Nature – “Footsteps”

Jack Cooper’s dizzying new band Modern Nature has let slip a few listens to their upcoming eponymous LP and now they give a visual representation of the nervous energy that drives the band’s sound. The Jake McGowan directed video shows Cooper pacing around the city, backgrounds spinning, flipping, and blurring in disorienting fashion to the beat. While much of the album embraces a pastoral creep into Krautrock’s camp, “Footsteps” is pure motorik mayhem. The songs locks down into a Neu-nicked groove and slashes at the panic with stabs of sax from Sunwatchers’ Jeff Tobias. Fans of Coo[ers’ Mazes should find a bit to chew on here, but in general Modern Nature is a singularly engrossing entity from Cooper’s musical universe. I’ve said before, I’m sad Ultimate Painting had to go, but if Modern Nature is the result of the fallout, its not all ashes left behind. The record is out on Bella Union August 30th.



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