Blacksage – Baltimore Magazine

The Big Baltimore Playlist: September 2017

Lydia Woolever — Wed, 13 Sep 2017 16:08:00 +0000

In this fourth iteration of The Big Baltimore Playlist, we feature five local songs we can’t get enough of, ranging from glittery pop remixes and chill-wave raps to experimental electronica and lauded indie-rock. Check back each month for new top songs of the moment, and follow our Spotify playlist as we continue to build a soundtrack for our city.

“Sightsee” by Blacksage ft. :3ION (Moss Of Aura remix)*

Talk about a quadfecta. Blacksage’s Josephine Olivia and Drew Scott produced a pretty stellar album last fall, with its debut Shivers, featuring this sexy snaking number and a handful of other lovely, dark ballads. But in this just released remix, 2016’s “Sight See” gets a euphoric, orchestral new look in 2017. The original melody floats through the luminous mist of Moss Of Aura (aka Gerritt Welmers of Future Islands), bringing the angelic vocals of futuristic R&B singer :3ION to the forefront, wrapping the warbling coos of Olivia into a featherbed of synth, and infusing Scott’s initial, deep beat with a hefty dose of light. By the end, it transforms from a lust song into a sort of love one.

“Dead Man Draggin’” by Butch Dawson

If you dig Kendrick Lamar, Childish Gambino, or Tyler The Creator, you’ll want to follow Butch Dawson. The local producer and frontman for Basement Rap Records is a reservoir of smart, sophisticated, slow burn rhymes, and he stands on his own as one of Baltimore’s sharpest rappers. The beauty of his beats lies in their contrast, as his tranquil melodies are studded with hard-hitting ruminations. On this number (featuring some NSFW lyrics), the jangling chill-wave beat and shimmering timber of hi-hat drums meets lyrics that are listless in their delivery yet complex and contemplative in their content. Through verse and chorus, Dawson seems to address the struggles of our city (“Something ain’t right right now, nothing can save my town”) and the predicament of being a young black man in Baltimore (“Gotta give it up, I’m just a dead man . . . Can’t do much when you’re a dead man”). In short, don’t sleep on his upcoming album, Swamp Boy.

“Wham City” by Dan Deacon

When this song first came out 10 years ago, Dan Deacon was a quasi-known experimental musician, best known for his Wham City arts collective at the Copycat Building in Station North, still years away from becoming a local household name. Now, Deacon is wedged somewhere between Beach House and Future Islands as one of the biggest and brightest acts to come out of Baltimore. At nearly 12 minutes, this recently re-released track takes you on a journey, from its exuberant bookend melodies through its race-pace electronic heart. In the end, we wind up where we are now: standing in awe of Deacon’s musical mastery. Back then, as in today, he turns the unexpected into a beautiful cacophonous symphony.

“Without You” by Micah E. Wood

Last year, we fell for Micah E. Wood’s infectious song “Go Away,” featuring the aforementioned Butch Dawson. We also adored his prolific portraits of Baltimore musicians bathed in afternoon light, like Joy Postell, Abdu Ali, and Al Rogers Jr., which seemed to be popping up everywhere. Naturally, we were extra excited to hear about Wood’s upcoming album, See Me, out September 22, and this new single, featuring a brighter brand of his trademark talk-sing electro-pop. This catchy, bass-heavy beat builds and blossoms into an anthemic chorus that pretty much sums up that jubilant moment of finally getting over a break-up: “I feel alive without you,” he sings, drawing that five-letter adjective out into eternity. Even if you’re in a relationship, this song makes you feel like you are full of life.

“Thinning” by Snail Mail

This song has been around for a year, but we’re adding it to the list anyway in celebration of Snail Mail’s badass inclusion in last week’s New York Times. In a rad roundtable titled “Rock’s Not Dead, It’s Ruled by Women,” frontwoman Lindsey Jordan keeps it real and, as in her music, comes across as well beyond her 18 years. Over the past few months, this breakout single has caught the attention of everyone from Pitchfork to SXSW to, now, the Gray Lady. It’s potent and pure, and its lush, lo-fi melody is laying forth the groundwork for a new era of indie-garage rock. It’s everything you felt at that coming-of-age moment before your twenties—her openhearted lyrics read like your internal diary, those gritty guitar chords pull at your heartstrings—and yet it continues to resonate, whatever your age might be today.

*Not available on Spotify yet. We’ll add it when it comes online.

Source

My Favorite Music of 2016

Lydia Woolever — Tue, 20 Dec 2016 15:20:00 +0000

Music Reviews: October 2016

Jess Mayhugh — Wed, 12 Oct 2016 08:30:00 +0000

Blacksage

Shivers (Friends Records)

Blacksage’s last album, Basement Vows, was the kind of breakout record that would be hard to follow. With a fusion of luxurious vocals and deep, dark, drip-dropping beats, the local duo found their own unique sweet spot in the evolving genre of modern R&B. Turns out that breakthrough was also a breakup—the embers of a relationship between singer Josephine Olivia and producer Drew Scott. In its cathartic wake, a clearing was created for this next album, filled with room for both artists to grow. Freed of those leftover emotions, this new record reveals a much more sparse, sophisticated Blacksage. Themes remain the same—desire, romance, heartache—but each song slows down, spreads out, and oozes with newfound confidence and ease. With technical prowess, Scott builds up and breaks down sounds into undeniably captivating beats, creating an open-floor plan for Olivia’s voice, which is at once vulnerable and in complete control as it unfurls each high hymnal cry or low purring coo. With an emphasis on jazz, the duo becomes a modern version of the past: a new ode to old styles, a fruit of their former selves. With the title track, they declare themselves a powerhouse of the local music scene.

See our full interview with singer Josephine Olivia and producer Drew Scott of Blacksage.

Flock of Dimes

If You See Me, Say Yes (Partisan Records)

This has been quite a year for Jenn Wasner. From shows at the Meyerhoff and BWI to a new album with her 10-year-old band Wye Oak, the Baltimore singer has reached a pinnacle in her already accomplished career. And now, five years after emerging as a solo artist under the Flock of Dimes moniker, and a year and a half after leaving Baltimore for a North Carolina bungalow, Wasner releases her FOD debut. Across 12 songs, Wasner—who wrote every lyric, played every instrument, and even manned the entire production—sings about the duality of moving forward and looking back, most apparent on her aptly named single, “Semaphore.” She connects the past and present, and the Land of Pleasant Living with the Old North State, and seems to discover herself along the way. There are small, introspective moments, and bright, buoyant ones, too, and in the end, she emerges more assured and empowered than ever before (the word “moxie” comes to mind). Maybe she hasn’t found all the answers, but with notes imbued with both an undeniable lightness and a grounded dose of gumption, she makes the case that maybe she doesn’t have to.

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Blacksage Discuss Their Latest Release Shivers

Jess Mayhugh — Fri, 23 Sep 2016 08:30:00 +0000

On the heels of their third album, Shivers, local electronic R&B duo Blacksage talks with us about their new sound, being part of the Friends Records family, and that all-important question: What would Prince do?

You both grew up in Anne Arundel County. Did your love of music start there or after you moved to Baltimore?
Josephine Olivia, singer: I always loved singing, even when I was younger and way too afraid to sing. I remember my first open-mic performance in Annapolis when I was 16. It was horrifying but so rewarding. I played more acoustic, folksy, solo stuff before I moved, but it wasn’t until Drew and I met and started making music together that I did anything like this. It came together so easily and was so much fun. It became a new outlet for me.

Drew Scott, producer: I’ve been making rap beats since I was about 17. Once I learned how to sample music, that was it, from that day on. I got hand-me-down records from family and friends and started spending probably too many years by myself in a room making beats. Mostly hip-hop stuff, though I’ve always wanted to make pop music, because it’s not limited to one genre. Like Madonna’s first record—I always like to imagine I made that.

You’re just friends, but you dated for a while. Which came first, the relationship or the band?
J: We started dating and it was pretty soon after that we started making music, and that sort of became the focus.

D: We realized we were better at being a band than a couple [laughs].

You—and we—are lucky you were able to make that work.
J: We both just have a mutual respect for each other and we make pretty decent music together so we figured we shouldn’t throw the baby out with the bathwater.

Your last album, Basement Vows, was described as being born “from the ashes of your relationship,” as it was made after the breakup. If that’s the case, what is this new album?
J: Our first record was us getting together; the second was us falling out. On this record, we wanted to stay away from what was our romantic relationship and from just writing about our experiences together, because this record wasn’t about us. This record draws a lot from our other experiences, and the other relationships we’re in now, but we also wanted to create a broader image of relationships in general.

D: This album is more mature. Josie didn’t just write from her own perspective. Some of the songs are more conceptual. And we definitely went in a more jazzy direction. We both love jazz, in many forms, like Billie Holliday’s vocals or, bringing it into the future, I’ve always been influenced by Prince. That’s a huge part of my writing. Whenever we get stuck on a song, we always say, what would Prince do?

That’s a great motto to live by.
J: We try to touch on a lot of different genres without being put into one specific box. I think this is the most accessible album we’ve done.

At the same time, it feels a lot less poppy than your previous work.
J: Our last album went real poppy, and I don’t know if we were that excited about it. We like that this album is more experimental and not a predictable pop pattern. We want to keep you listening and guessing.

D: A cool thing is that the first song samples vocals from Josie’s mom.

J: My mom was in a Renaissance band in the 1970s. When I was little, I remember that they had their own vinyl record that I would listen to and be so excited by, thinking that one day it would be so cool if I had one, too. Then this year, when Friends Records got some backing, we found out we were going to have vinyl, too, and I immediately thought it would be really cool if we used some of my mom’s influence. It adds an even more different style to our sound, beyond just jazz. It’s some kind of weird medieval shit.

We loved the hymnal touch that’s woven throughout so many of these songs, between her samples and Josie’s ethereal voice.
J: The songs are definitely more focused on the vocals. The range is a lot broader—you can really hear the highs and the lows. In general, we took more time to focus on each song. We very meticulously picked apart each song and found the appropriate balance of distortion throughout, as opposed to just kind of winging it and letting it go. It wasn’t like, ‘Let’s slap reverb on the whole thing,’ like we did with the first album

After all this time, and all you guys have been through, how does it feel to make music together now?
J: The way we write things together hasn’t really changed. That’s been one of the most constant things between us. Drew comes up with the bones and the beat, and a lot of times, he just plays something, and I sing on it right there, and my first take is what we go with because it’s the most organic, truest thing.

D: We both also like to work alone, in our separate time. It’s pretty easy. We send things back and forth to each other. She lets me know if she doesn’t like something.

J: [Laughs] Yeah. We honestly don’t see each other that much, so it’s helpful to be able to just send things through e-mail.

D: We worked on the album on and off for about a year, both while doing other things, like I helped make Luvadocious with Al Rogers Jr.

J: But we’d always come back to it.

You have some other great artists featured on the album, like fellow Friends Records label mates Microkingdom, and up-and-coming R&B artist :3ION (pronounced Elon).
D: We finally got to work with :3ION. We’ve been wanting to for a couple years now.

J: It was incredible to see him work. I’m just really honored he wanted to be a part of it. We’re lucky to know so many talented people.

How does it feel to be part of the big Friends Records family and, just in general, the Baltimore music scene?
J: The beauty of Friends Records, and the Baltimore music scene, is that everyone actually is friends. We all work together. We build together. It’s an amazing community of people who all just really give a shit about music. It’s one of the greatest things about Baltimore. You meet people who are so talented and you make something so completely different together than anything you’d ever create otherwise. I feel very fortunate to be a part of it, especially Friends, with everything they’ve accomplished and all the new things coming up. It’s amazing to see it all unfold.

D: The Baltimore music scene definitely still has a small-town vibe. When you go out in Station North, you see like 15 other amazing artists, just hanging out. And when they are performing, everyone just puts on such a good show. It keeps you on your toes. You want to be good for these people.

J: You want to keep up.

D: People just work so hard. The DIY spirit is very important here and that’s so cool.

Now that Shivers is out, any other upcoming projects?
J: We are definitely going to keep making music. I don’t know how many albums we’re in for, but one at a time. We don’t really have expectations. We’re just really excited that all these things have happened. We’re just along for the ride.

D: This really feels like our first album. It feels like a good start.

J: We’d like to get more involved with programs like Believe in Music [an organization that promotes self expression and community engagement for Baltimore City students through music education], which is an amazing group of people and kids.

D: We got to make a song with one of the students.

J: We made a beat, she wrote the lyrics, and I helped her find a melody. Being in the booth with her was really a cool experience. Working with kids is the most important thing we can do because it’s the next generation. It’s probably become one of our biggest focuses: to get kids to make music, and help them in any way we can. It’s important to let them know that they can really do whatever they want to do. They can really make it happen if they want to.

You can catch Blacksage tonight, September 23, at the Ottobar with R&B artist :3ION, hip-hop quartet Soul Cannon, surf-pop rockers Sweepstakes, singer-songwriter Beya Likhari, and DJ James Nasty.

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Weekend Lineup: Sept. 23-25

Lydia Woolever — Thu, 22 Sep 2016 16:01:00 +0000

Five things to eat, drink, see, hear, and do with your Charm City weekend.

EAT

Mi & Yu Noodle Bar Grand Opening

Mount Vernon
Marketplace, 520 Park Ave. 11 a.m.-8:30 p.m. Free.

We love the little nosh-worthy nook that is Mi & Yu
Noodle Bar on South Charles Street in Federal Hill. Just off the hubbub of the
Cross Street square, and amidst the multitudes of forgettable late-night eats,
it’s the perfect hidden gem for salty-sweet steamed buns and heavenly hot bowls
of soup. One year after opening, Mi & Yu can now be found in a second
location, having just opened its stall in Mount Vernon Marketplace. Joining the
ranks of the beloved Local Oyster and fellow Asian eateries Pinch Dumplings and Brown
Rice, the shop will be the first to offer ramen in this favorite food hall.
Expect the same deliciousness, with ramen, udon,
pho, and all that tasty pork belly in tow.

DRINK

September 24-25: Maryland Oktoberfest

Maryland State Fairgrounds, 2200 York
Road, TImonium. Sat. 11:30 a.m.-10 p.m., Sun. 11:30 a.m.-6 p.m. Free-$8.
410-446-8189.

It’s officially
fall, which means it’s time for pumpkin beers, comfy sweaters, and front steps
covered in decorative gourds. It also means Oktoberfest festivities are about
to pop up all across the country (and world). Kick it all off with a
celebration of German heritage and culture at the Maryland State Fairgrounds.
For two days, don your lederhosen and dirndls and indulge in all things Deutschland, with authentic cuisine—think all the pretzels and brats your belly
could crave—giant steins of beer, traditional music and dance, and handmade
goods.

SEE

September 21-January 22: John Waters’ Kiddie Flamingos

The Baltimore Museum of Art, 10 Art Museum Dr. Wed.-Fri. 10 a.m.-5 p.m., Sat.-Sun. 11 a.m.-6 p.m. Free. 443-573-1700.

We’re all familiar with Baltimore’s most notorious (and beloved) auteur, John Waters. The renowned director is a legend thanks to his iconic camp films and, increasingly, his fine art, which has been twice featured at The Baltimore Museum of Art. This month, catch his latest project: a 74-minute, G-rated rendition of Pink Flamingos, with lines read by children in wigs and mock versions of the original costumes. We can’t wait to see the pint-size Divine.

HEAR

September 23: Blacksage

Ottobar, 2549 N. Howard St. 9 p.m. $10. 410-662-0069.

Basement Vows was the kind of breakout record that would be hard to follow, full of modern R&B trappings, producer Drew Scott’s captivating beats, and singer Josephine Olivia’s honey-coated vocals. But in that last album’s cathartic wake, this new record (out next week via Friends Records) reveals a much more sparse, sophisticated Blacksage. Themes remain the same—desire, romance, heartache—but each song slows down, spreads out, and oozes with newfound confidence and ease. With an emphasis on jazz, the duo declares itself a powerhouse of the local music scene, one that should definitely be reckoned with and heard (especially the new undeniable title track). See for yourself on Friday night in Remington, with Best of Baltimore-winning R&B artist :3ION (also featured on the album), hip-hop quartet Soul Cannon, surf-pop rockers Sweepstakes, singer-songwriter Beya Likhari, and DJ James Nasty.

DO

September 23-25: Baltimore Book Festival

Baltimore Inner Harbor. Fri.-Sun. 11 a.m.-7 p.m. Free. 410-752-8632.

The Baltimore Book Festival makes us pretty confident that we are still “the city that reads.” After 21 years, this three-day fete continues to be a book-lover’s paradise, with hundreds of speakers, exhibitors, and booksellers of every genre. With local food, drinks, and music in tow, listen to live stories by Stoop Storytelling, catch Baltimore native D. Watkins and True Laurels editor Lawrence Burney as they discuss their new books and magazines, respectively, and hear Best of Baltimore-winning poet Tariq Toure read from his debut collection. On Friday, don’t miss Bond Street District perform on the music stage at 6 p.m., and on Saturday, be sure to catch BmoreArt’s Art Critic Panel with editor-in-chief Cara Ober and Baltimore’s own Gabriella Souza, as well as the National Aquarium’s Sustainable Seafood Panel for Chesapeake conversation with local chefs John Shields and Spike Gjerde, True Chesapeake Oyster owner Patrick Hudson, and outdoor photographer Jay Fleming.

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Culture Club: Akimbo, Baltimore Book Festival, BBW

Gabriella Souza — Thu, 08 Sep 2016 12:20:00 +0000

Performing Arts

Akimbo
Sept. 10, Station North Arts District At five years old, this dance and movement art festival continues to expand our minds when it comes to how we think about dance, and where it can take place. This year, as in the past, performances are spread throughout Station North, from the stairs of the Montessori School to inside venues like The Windup Space and The Crown. And there’s something for everyone—whether you’d like to see more traditional dance forms, have your mind expanded, or bond with fellow movement enthusiasts by participating in a drum circle and dance jam.

Wait Until Dark
Through Oct. 9, Everyman Theatre, 315 W. Fayette St. You might have seen this classic Audrey Hepburn movie, but everything’s always better live, right? Murder, secret identities, and a switchblade named Geraldine set the stage for this thriller perfect for pre-Halloween.

Baltimore Afrobeat Society
Sept. 16, Fifth Dimension at the H&H Building, 425 N. Eutaw St. When the horn blasts and thumping beats of Fela Kuti’s music begin, who could possibly sit still? The Afrobeat Society—comprised of five percussionists, three guitarists, two trumpets, five singers, one bass, and five saxophones—will test that theory.

Itzhak Perlman plays Mendelssohn
Sept. 17, Joseph Meyerhoff Symphony Hall, 1212 Cathedral St. You must take advantage any time you can hear this violin legend—especially when he’s playing his signature piece. At this BSO gala performance, also hear a BSO-commissioned world-premiere from composer Caroline Shaw.

BSO Pulse with Houndmouth
Sept. 22, Joseph Meyerhoff Symphony Hall, 1212 Cathedral St. The groundbreaking WTMD and Baltimore Symphony Orchestra concert series that pairs symphony musicians with indie bands—is back for round two. And the first concert of this year includes the alt country band Houndmouth.

Blacksage Record Release
Sept. 23, The Ottobar, 2549 N. Howard St. We’ve been anticipating the next release from this electro-goth duo, and singer Josephine Olivia and producer Drew Scott always put on an impressive live performance. Plus, music scene mainstays like :3ION, Soul Cannon, and DJ James Nasty join them on the bill.

Visual Art

Good and Plenty, Relative Territory, and Annoying Poem
Sept. 9-Oct. 29, School 33, 1427 Light St. Three new exhibits open on Friday at School 33, featuring an installation, sculpture, and intermedia works by 2016 Sondheim finalist Darcie Book, Brazil-based Lydia Malynowskyj, Dina Kelberman, and Matt Hollis.

BBW
Sept. 10-Oct. 1, Platform Gallery, 116 W. Mulberry St. Artist Theresa Chromati (you’ll know her from the vibrant posters she’s created for the musical event Kahlon) has created an installation to compliment her series of works on paper that celebrate the excellence of the black woman. In each figure, Chromati highlights the beauty of black women, from their poses to the elegant curves of each silhouette.

Invisible Children
Sept. 15-Oct. 22, C. Grimaldis Gallery, 523 N. Charles St. Rania Matar’s photographs document young Syrian refugees on the streets of Beirut and third-generation Palestinian girls living in refugee camps. Matar depicts these children at work: selling red roses, carrying beat-up shoe-shining equipment, often camouflaging themselves with the graffiti they stand before.

Lest We Forget
Sept. 12-Oct. 16, Galerie Myrtis, 2224 N. Charles St.Works by the likes of 2016 Sondheim finalist Larry Cook, Wesley Clark, and Shaunte Gates examines pivotal moments and figures in U.S. history, as well as everyday occurrences and unknown individuals that have impacted the African American experience.

Onslaught of Obsolescence
Sept. 9-Oct. 2, Institute of Contemporary Art Baltimore at Spacecamp, 16 W. North Ave. Artist David Ubais is serious about making silly paintings. David utilizes modest materials such as paper pulp, hot glue, and wood and the result is intensely textured and colored paintings that teeter on the threshold of relevance while also questioning whether we can maintain a constant state of curated comfort.

Teacher
Sept. 10-Oct.2, Terrault, 218 W. Saratoga St. Artist, and Baltimore native Dominic Terlizzi uses a symbolic palate and textural lexicon to discuss youth and unknowing in this latest show. Spectrums of color offer a lush backdrop to divergent narratives and coded meanings.

Events

Baltimore Book Festival
Sept. 23-25, various locations throughout the Inner Harbor This celebration of all things literary is back on the Inner Harbor with bestseller Terry McMillan, hometown favorite D. Watkins, and a special edition of The Stoop Storytelling Series.

Female Trouble on 35mm, presented by the Johns Hopkins Film Society
Sept. 9, Shriver Hall, Johns Hopkins University Some call this cult classic John Waters’ best film, and what better way to view Divine in all her glory than in luscious 35mm?

News

Starting Sept. 19, you might notice some changes to WYPR 88.1 FM’s daytime programming. Current Midday host Sheilah Kast will be creating a program consisting of interviews on current events and topics to air following Morning Edition from 9:30 to 10:00 a.m. And Tom Hall, the current host of Maryland Morning, will be moving to Midday, which airs weekdays from noon to 1:00 p.m.

Source

Weekend Lineup: April 15-17

Lydia Woolever — Thu, 14 Apr 2016 10:00:00 +0000

Five things to eat, drink, see, hear, and do with your Charm City weekend.

EAT

April 16-17: The Emporiyum

600 E. Pratt St., 3rd Fl. 10 a.m.-3 p.m. $16.82-43.19.

This weekend, the Inner Harbor will smell exceedingly delicious and it won’t just be because of Shake Shack. For two days, for the third years, The Emporiyum food market is back in Baltimore, this time heating up in the former Best Buy on Pratt Street. The warehouse-esque space will fill with dozens upon dozens of straight-up drool-worthy eats and treats, with nearly 100 American-made vendors ranging from D.C.’s Maketto to New York’s Luke’s Lobster to Charm City favorites like The Local Oyster, Clavel, and Ekiben. Indulge in a bevy of bites, snag some snacks to take home, then scramble outside to enjoy the beautiful sunny day.

DRINK

April 16: Privateer Festival

Fells Point, S. Broadway & Thames St. Sat. 10 a.m.-7 p.m., Sun. 10 a.m.-6 p.m. Free. 410-675-8900.

Once a busy port riddled with merchants, sea captains, and shipyards that made the famed Baltimore clippers, Fells Point is a neighborhood steeped in rich maritime history. Today, the bustling waterfront is home to water taxis, watering holes, and waterfront views of Domino Sugars, but this Saturday, you can travel back in time at the 12th annual Privateer Festival. Drink like a sailor with pints of Heavy Seas at the grog garden and meander along the stony streets to take in authentic schooners, dockside ship tours, battle reenactments, and live music. Browse locally made crafts, dig into traditional Maryland eats like crab cakes and pit beef, and, if you’re ready for another dram, hop on the Pirate Invasion Pub Crawl to booze around the neighborhood’s many bars.

SEE

April 15-17: Baltimore Tattoo Arts Convention

Baltimore Convention Center, 1 W. Pratt St. Fri. 2 p.m.-12 a.m., Sat. 11-12 a.m., Sun. 11 a.m.-8 p.m. Free-$40. 410-649-7000.

There’s something intriguing about tattoos. Maybe it’s the story behind the tat. Maybe it’s the art itself. Maybe it’s the painful process of getting one done. But whatever the reason, this weekend’s ninth annual ink show will fulfill your every fantasy. A feast for the eyes, the festival will feature tattoo fans flaunting their skin sketches and award-winning artists creating their very own masterpieces. Whether you’re a tat enthusiast, potential canvas, or curious onlooker, expect everything from intricate etchings to Baltimore pride badges full of Ravens, Orioles, and Bohs.

HEAR

April 15: Boone Street Farm Benefit with Bond St. District, Blacksage, Moss of Aura, etc.

The Compound, 2239 Kirk Ave. 8 p.m. $10-15.

It’s been six years since Boone Street Farm opened in the East Baltimore neighborhood of Midway. Left vacant for two decades after the demolition of decaying rowhomes, the quart-acre space was transformed from an empty lot into a community garden equipped with a hoop house, small fruit orchard, and market farm. Growing everything from kale and tomatoes to summer squash and black-eyed peas, the farm offers healthy food options, clean neighborhood initiatives, monthly gardening series, and cooking workshops, for starters. This Friday, celebrate their good work with a warehouse party featuring beloved Baltimore acts like Bond St. District (Unkle Lulu for life!), Blacksage, Moss of Aura, Halloween Tres, and local DJs, plus food and drink. Proceeds from the show will support Boone Street’s educational efforts, including a Baltimore City Youthworks summer program, Cecil Elementary School garden club, and internships.

DO

April 17-December 18: Baltimore Farmers’ Market & Bazaar

Underneath the Jones Falls Expressway at Holliday & Saratoga Sts. Sun. 7 a.m.-12 p.m. Free. 410-752-8632.

It’s time to revive your Sunday morning ritual. As true locals know, there’s no tradition like waking up early—regardless of how many beers you may have had the night before—to make your way below I-83 for the JFX Farmers’ Market. Beneath the hum of the highway, tote-toting devotees fill the corridors for everything from local meats and farm-fresh produce to fragrant flowers and homemade breads. Best of all, the state’s largest producers-only market, now in its 39th year, also features some of the best breakfast in town, with funky fried fritters from the Mushroom Lady and biscuit sandwiches from Blacksauce Kitchen.

Source

Best Music of 2015

Lydia Woolever — Wed, 23 Dec 2015 14:29:00 +0000

In the last year, Baltimore’s music scene has just burst at its seams. We’re not just talking big names like Future Islands or Beach House, though we dig what they’re doing, too, but in the quiet corners of every genre—from bluegrass and hip-hop to electronic and punk—new musicians reveal themselves every day. Here are just a few of our favorites, both new artists and old, from 2015.

DAN DEACON
Gliss Riffer
We didn’t think we could ever love Dan Deacon more than we did after listening to his spring album Gliss Riffer, falling head over heels for his tick-tocking third track, “When I Was Done Dying.” But then the local electronic artist threw the most envy-inducing dance party at NPR, told us about his amazing tomato-music metaphor, conducted a stellar, synapse-singeing set at Windjammer, went on tour with Miley Cyrus, and we quickly realized: we were completely wrong. We love him way more. We are the biggest fans.
Top picks: “When I Was Done Dying,” “Learning to Relax,” “Feel the Lightning”

ABDU ALI
“Keep Movin’ (Negro Kai)”
By now, there’s a good chance you know Abdu Ali, the young Bmore Club artist who continues to break artistic boundaries as a musician, writer, and speaker in and around Baltimore. Two years ago, he started his Kahlon dance parties at The Crown, which celebrated local talent of every type and has since sparked a wave of other DIY shows and collectives throughout the city. With unbridled energy and bold artistic vision, Ali pours passion into his endeavors, as heard on every inch of his 2015 single “Keep Movin’ (Negro Kai),” a minimalist monologue that swings between avant-garde artwork, motivational freestyle, and free jazz. Expect big things in the coming years.
Top picks: “Keep Movin’ (Negro Kai),” “I, Exist” (Already, 2013), “Invictos ft. Schwarz” (2013 mixtape)

BEACH HOUSE
Thank Your Lucky Stars
At this point, we’ve almost forgotten about Beach House’s first album of 2015, Depression Cherry, as we’re glued to our speakers, completely enraptured by the band’s surprise follow-up TYLS. Seriously, we can’t stop listening to “All of Your Yeahs.” And on these 18 new songs, Beach House does what Beach House does best—modern melancholy, youthful intoxication, shimmering nostalgia—through front woman Victoria LeGrand’s velvety voice and Alex Scally‘s twangy surf guitar. This album is like reading your teenage diary all over again, giving us all the feels.
Top picks: “All of Your Yeahs,” “One Thing,” “Somewhere Tonight”

AL ROGERS JR.
Luvadocious
Like his smile, Al Rogers Jr. is infectious. Aside from his stylish swagger and confident rhymes, the young artist is imbued with an openly optimistic outlook on life, spreading his feel-good vibes through what he has affectionately come to call his trademark swooz. On Luvadocious, Rogers’ new album with local producer and Blacksage bandmate Drew Scott (see below), the two friends create a utopian storyline of clever wordplay and spellbinding beats that takes you on a trip, better yet a “love voyage,” to a place where you should give your heart with abandon and always pursue your dreams. It has quickly become our go-to late-night jam.
Top picks: “Godina,” “Conversations,” U>Me,” “Pomegrante”

NATURAL VELVET
She Is Me
This summer, Natural Velvet actually inspired two Baltimore editors to start their own, all-girl, punk rock band. One listen to their raw, rip-roaring sound and you’ll soon figure out why. This Baltimore band is badass, fulfilling every bedroom dream you ever had of starting your own, thanks to 99.1 HFS. Frontwoman Corynne Ostermann taps into the hidden angst of your wide-eyed youth as she waxes between piercing wails and low, lovesick, Morrissey-esque moans, and all the while, her plugging bass line pulls at the strings of your 17-year-old heart.
Top picks: “Fruits,” “Swell,” “Crash”

MICROKINGDOM
Smooth Tendencies
For nearly a decade, Microkingdom has added its own brand of discord to Baltimore’s vibrant DIY music scene, as this experimental trio is equal parts avant-garde jazz performance and psychedelic jam session. At first, the sax, drums, and guitar seem to combine in a chaotic mess, but on closer listen, each track evokes particularly vivid scenes in their noisy, scrambling swirl. A smoldering summer night, high above Harlem or Chicago, all fire escapes, water towers, and burned-out stars. A planetarium seminar, with cardboard spaceships whirling out into the void. Mad wiry nights of youth, heavy drinking, and cigarette smoke in some dark, dingy, city club. At times, they also surprise you with their approachability, but this is not your mother’s smooth jazz. It is a layered freestyle of cacophonous art.
Top picks: “Chrome Dynasty,” “Diamond Urge,” “Midnight Plu$$”

TT THE ARTIST
Art Royalty & Gimme Yo Love
We want TT’s closet. Just take one look at her Instagram and you’ll know exactly why. When it comes to fashion, the MICA alum goes bold with bright color and creativity, just like she does in her Bmore Club music, as heard in her two 2015 EPs, Art Royalty and Gimme Yo Love. On both, she disses haters, empowers women, falls recklessly for love, and incites jock-jam jump-offs. In short, she’s no bullshit, and a ton of fun. We can’t wait for her new album in 2016—or her next music video.
Top picks: “Gimme You Love,” “Thug It Out,” “Fly Girl”

WUME
Maintain
Like some secret love potion, Wume found us transfixed this summer when the Baltimore-by-way-of-Chicago duo (pronounced woom) released their new album, Maintain. During a live set at Artscape, we hypnotically bobbed along in an evening daydream to drummer April Camlin’s steady beat and keyboardist Albert Schatz’s sparkly synth. It was like we had transported into the opening scenes of some 1980s science-fiction film or a beloved but antiquated arcade game, and we didn’t hate it. We could watch April command that kit for hours.
Top picks: “Control, “Gold Leaf,” “We Go Further”

BLACKSAGE
Basement Vows
Since the first listen of “Casualty,” Blacksage has haunted us with the low purr of lead singer Josephine Olivia and sludgy beats of producer Drew Scott (see Al Rogers Jr.) snaking their way into the corners of our darkest fantasies. The electro-goth duo melds deep house and trap music with old-fashioned pop and R&B, all morphing into moody, murky, modern baby-making music that’s as ambient and brooding as it is bold and bright. Consider them your next deep love (or bad breakup) songs.
Top picks: “Casualty,” “Basement Vows,” “Pillow Talk”

SUN CLUB
The Dongo Durango
Sun Club makes us want to be bad. More specifically, the young punk-rock band makes us want to stay up late, skip work the next day, and spend the afternoon sipping beer on a beach somewhere with our buddies, just basking in the sun. No obligations. No worries. That’s because they are a blow-out-the-speakers band of merry pranksters who defy the rules and flick off the authorities with their own skateboard brand of rambunctious pop rock. Full of eager energy and good vibes, we’re on the bandwagon, wherever they go.
Top picks: “Summer Feet,” “Beauty Meat,” “Cheeba Swiftkick”

THE MANLY DEEDS
The Manly Deeds
Though this album actually came out in 2014, we truly fell in love with it this past year. During the early days of summer, the Baltimore band’s Americana mix of country, bluegrass, and folk had us yearning for a wide-open road. The Land of Pleasant Living locals sing songs of travelers, coal miners, and thieves in the style of music past—from plucky ditties and timeless ballads to thumping mountain hollers—paying homage to Maryland’s bluegrass heritage, from the hills of Appalachia and the tides of the Chesapeake Bay. At the end of the day, we’re just suckers for anything with a fiddle, harmonica, or slide guitar.
Top picks: “Troubles Like Mine,” “My Own Red Blood,” “As the Cow Flies”

LOWER DENS
Escape From Evil
Frontwoman Jana Hunter has been everywhere lately. Whether she’s talking race in Pitchfork, politics with CNN, or misogyny with Cosmopolitan and BBC, she eloquently expresses her beliefs in the same sort of unapologetic way that she makes her music. The local indie rock band’s third release is robust and undeniable—a warm, aching album of echoing guitar, shadowy synth, and Hunter’s inimitable voice full of hope or heartbreak, falling away in abandon or howling out in despair. Whatever your state, “Sucker’s Shangri-La” is one of the best songs of the year.
Top picks: “Sucker’s Shangri-La,” “Ondine,” “To Die in L.A.”

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Music Reviews: July 2015

Jess Mayhugh — Wed, 29 Jul 2015 11:54:00 +0000

Wume
Maintain (Ehse Records)

The perfect word to describe Wume (pronounced woom), the Baltimore-by-way-of-Chicago duo, would be “chill.” Their minimal psychedelic music is chill, their personal vibe is chill, and the way you feel while listening to them is, you guessed it, chill. See them live or listen to their new record, and, before long, you’ll find yourself hypnotically bobbing along. Their sound is a sort of soundtrack groove, as drummer April Camlin’s steady beat and keyboardist Albert Schatz’s sparkly synth transport you into the opening scenes of a 1980s space film, swelling and swirling like some antiquated arcade game. Inspired by early German krautrock and funk, the duo layer their instruments and a few stray instrumental-esque vocals into polyrhythmic structures—a sort of ordered chaos. The repetition somehow manages to not sound droning or monotonous, but rather lulls you into a pleasant trance. True to the name of the album, Wume’s low-key, cadenced sound maintains, but we doubt that’s all they’re going to do. In fact, as they return home from a European tour with Dan Deacon, it’s safe to say they’re only going to grow.

Read an interview with Albert Schatz and April Camlin of Wume.

The Honey Dewdrops
Tangled Country (self-released)

The Honey Dewdrops are like a cold glass of lemonade on a sticky summer afternoon. They’re simple, sugar-coated, and Americana to the core, a mix of sweet vocals, pretty melodies, and gentle, strumming guitar. It doesn’t hurt that the Virginia natives also share a lovely little love story, too: The songwriting couple spent nearly two years traveling across the country before settling in Baltimore last summer, and all their adventures and mishaps are chronicled on this fourth studio album. It’s full of love songs, blues ballads, Southern spirituals, and the kind of music heard in the depths of the Appalachian woods. They sing about hitting the road and breaking down before ending with an instrumental that feels like finding home. Mandolin and banjo plink and pluck, acoustic guitar twangs, the occasional harmonica whines—and all the while, warm harmonies permeate throughout. A year on the road must have been the ultimate test of marriage, but this album sounds like it only brought them closer. On every song, their love shines through.

Blacksage
Basement Vows (Friends Records)

There’s a new kind of girl power taking over the music industry, but it’s not all pop princesses, choreographed dance moves, and bubblegum hits. Sometimes, the spotlight goes dark, with electro-goth queens like Grimes, Purity Ring, Lykke Li, Zola Jesus, and even Lorde taking center stage. These femme fatales have created their own genre, combining deep house and trap music with good old-fashioned pop and R&B. In Baltimore, Blacksage has edged its way into the dark corners of this new world, with vocalist Josephine Olivia and producer Drew Scott making music that’s as ambient and brooding as it is bold and bright. From out of the darkness of their second album comes a glimmer of light, with murky, snaking lullabies like “Stay” interwoven with more upbeat, synth-riddled pop songs, like the title track. The songs come on low and slow. They’re moody, sexy, and haunting, like some smoky film noir. Olivia’s vocals ache and echo between low purrs and high coos while Scott’s heavy beats throb in the depths beneath. They toe the line between eerie and spellbinding, but you’ll find yourself seduced in no time.

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Local Musicians Join Together To Rebuild Baltimore

Gabriella Souza — Tue, 12 May 2015 12:12:00 +0000

What better way to support Baltimore than by listening to local bands and enjoying art?

That’s what Bob Elder is hoping Baltimoreans will think when they hear the details for the Be More Benefit on May 20. Scheduled for next Wednesday at The Metro Gallery, the all-ages event will feature the bands Eze Jackson, Wing Dam, Blacksage, Bond St. District and Elder’s own Joy Classic.

In addition, you can also bid on works donated by local artists at a silent auction. The bands are playing for free, and all proceeds benefit The Baltimore Community Foundation‘s Fund For Rebuilding Baltimore.

Elder, who plays guitar in Joy Classic. said the idea came while talking with fellow musicians and artists about the events following the death of Freddie Gray.

“Everyone was scared, frustrated, and wondering what we could do. That’s when the kernel of the idea came to me,” he said.

He recommends buying the $10 tickets sooner rather than later—they’ve been selling pretty quickly. And donation boxes will also be placed around Metro Gallery for any items such as clothes or food that you can bring.

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Music Reviews: January 2015

Jess Mayhugh — Thu, 29 Jan 2015 10:51:36 +0000

The GoGo Suite: Live at the Windup Space Vol. 2
Lafayette Gilchrist Featuring The New Volcanoes (Creative Differences)

Gilchrist, a wildly talented local jazz pianist, has long claimed an affinity with D.C. go-go music. Until now, that influence has mostly been implied. But over the course of these four compositions, Gilchrist more overtly nods to the music as the propulsive drummer Nate Reynolds and a robust horn section match the fury, if not always the form, of go-go.

Sixtape EP
Blacksage (Friends Records)

This six-song cassette is an excellent showcase for vocalist Josephine Olivia Herbst, a promising talent on the local music scene. Backed solely by Drew Scott’s evocative keyboard playing, Herbst conjures the likes of Björk and Billie Holiday on sublimely melancholy songs like “Consuming” and “Powder.” Let’s hope a full-length album is in the works.

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