thepatchworkreview

[thepatchworkreview]

taylor swift’s fame feels like the zeitgeist chewed on the concept of girlboss and spat it out wrapped in sequins. okay, she’s a talented lyricist. okay, she’s got the whole “small-town girl makes it big” narrative people eat up like it’s their emotional comfort meal. but where do we draw the line between genuine admiration and turning her into this untouchable deity of pop? it’s not even her. it’s the pedestal she’s been shoved onto.

the tortured poets department. girl, you’re not sylvia plath at the typewriter. i’m not saying pop can’t be poetic, but there’s a difference between depth and slapping a title that feels like it’s been through an insta-poetry generator. there’s this constant cycle where every move she makes is dissected, hailed as revolutionary. her eras tour... i mean, it’s like the hunger games of tickets. people selling organs for nosebleeds. why? why does it have to be this obsessive consumerism spectacle where she’s not even just an artist anymore, but a cult leader for people to worship at the altar of vinyl variants and limited-edition merch?

and don’t even get me started on the chart fixation. like, did anyone even enjoy music this year, or did everyone’s brains collectively rot into a dopamine chase of streaming numbers and records broken? congrats, she’s the first human to sell out mars. can we breathe now? people act like if her single doesn’t debut at number one, the entire industry will collapse. and the stans… you say anything less than “taylor cured my depression and reinvented the wheel” and suddenly you’re enemy number one. like, chill, she’s good, but she’s not a god.

still, i get it. she’s calculated in the best way. she knows how to pivot, how to keep things fresh, how to sell relatability while staying untouchable. it’s a formula, and she’s mastered it. she’s the girl who gets dumped and turns it into poetry. she’s the boss reclaiming her masters. she’s the girl next door who somehow owns the block. there’s something magnetic about that. but can we talk about how shallow the pop landscape is if this level of obsession feels normal? like, shouldn’t there be room for more than one messiah?

maybe the issue isn’t even taylor. maybe it’s us. this endless need to crown someone, anyone, to obsess over. the numbers game, the constant need to validate our tastes through stats. music is supposed to be felt, not quantified. but here we are, measuring streams like it’s a pissing contest. maybe we’re the problem. or maybe i just miss when listening to music didn’t feel like being a cog in someone’s marketing scheme.

[thepatchworkreview]

Iniko – A Shapeshifting Voice

New guest writer Stevie Aldrich asks that if you’re celebrating Black History Month, make sure you put Iniko Ijhara Dixon at the top of your list to listen to. Whether their words and message compel you or their extraterrestrial vocals hypnotize you, they represent black and genderless groups exquisitely. They won’t be confined to the box in someone else’s head, they’ll soar across the universe.

Learn more about Iniko and listen to their music at the link below:

[thepatchworkreview]

Essential Listening: The Blood Brothers – Young Machetes (2006)

James looks back at one of his favourite albums of all time, a release that he believes is horribly underappreciated in the underground music scene. He makes his case for why Young Machetes by Seattle experimental post-hardcore act The Blood Brothers should be considered essential listening.

The Blood Brothers redefined the limits of post-hardcore with their final album Young Machetes, working in elements of mathcore, punk, noise rock, pop and more. The bands style frequently featured dueling vocals with vastly different delivery, presented over the top of rapidly changing instrumental styles. What makes this particular album special in my opinion, is the perfect balance that the band managed to strike between unbelievable catchiness on one side and harsh, experimental chaos and raw energy on the other. Young Machetes is such a unique piece of music that it belongs on any good essential listening list.

Read James' full review and listen to the full album at the link below:

[thepatchworkreview]

Guided By Voices // I Am A Scientist

And I know what's right But I'm losing sight of the clues For which I search and choose to abuse to just unlock my mind Yeah, and just unlock my mind

[thepatchworkreview]

HOLY HELL THE PAPER CHASE FANS LOOK WHAT I FOUND!!!

A HUGE LIST THAT CONTAINS EVERY SINGLE LIVE RECORDING OF THEM!!! There's a lot of stuff I've never heard about before!! I'm so glad it's a thing

[thepatchworkreview]

As somebody who is obsessed with Mr. Congle and TPC respectively, I can safely say this is the master list of his stuff.

It's got enough content on there to get people who have no idea who he is familiar with him, while also offering unseen deep-cuts for mega-fans.

A post of some lesser known paper chase/nighty nite/John Congleton perfomances that I'd really like to share!!!

1. The pAper chAse at the barn in Moundsville, WV. Idk about the date of this concert, pretty sure it was October of 1999? The video was posted in Feb of 2011 though

Songs:

Where Have Those Hands Been?

Isn't She Something?

These Things Happen

Incudes the band members in bunny ears and John yelling at Bobby Weaver

Link

2. John Congleton and The Nighty Nite at Chain Reaction in Anaheim, CA (08/22/2016)

Songs:

Just Lay Still

Who Could Love You, Lucille?

Until It Goes

The Forest Fire

The White Powerless

The Mass Hysteria

Your Temporary Custodian

Animal Rites

Link (it's a playlist)

I know some of these videos aren't so unpopular, but some barely have any views and that's sad. I like this concert a lot

3. The pAper chAse at Lola's in Fort Worth, TX (10/16/2009)

Songs:

The Forest Fire

There's two recordings of it available

First link Second link

4. The pAper chAse at Mercury Lounge, somewhere in 2009 I believe

Songs:

The Forest Fire

Link

5. The pAper chAse at Monk's in Abilene, 2008

Songs:

I Tried So Hard to Be Good

A Little Place Called Trust

We Know Where You Sleep

The Kids Will Grow Up to Be Assholes

Link

6. The pAper chAse at Beep! Beep! Showcase at db's Utrecht, 2008

Songs:

Ready, Willing, Cain and Able

Link

7. The Nighty Nite @ the Parish

Songs:

A Tale Told by an Idiot

Canaries in the Coal Mine

Link

This one is literally amazing. Two of my favorite nighty nite songs and I just recently found out about this recording!!!!

8. The Paper Chase @ the Casbah (03/25/2010)

Songs:

the common cold (the epidemic)

the laying of hands the speaking in tongues (the mass hysteria)

Link

9. The Nighty Nite @ the Summit. Somewhere in 2011 I believe

Songs:

My Heart (unreleased)

Love is Not All You'll Need (unreleased)

Canaries in the Coal Mine

Link 1 Link 2 Link 3

This one is pretty rare! Took me a long time to find the unreleased tracks and I loooove them

10. The Paper Chase @ The Adventure Club (11/28/2004)

Songs:

Your Ankles to Your Earlobes

Said the Spider to the Fly

Christmas in Washington (Steve Earle Cover)

Link 1 Link 2 Link 3

11. The Paper Chase @ The Adventure Club (10/22/2006)

Songs:

We Know Where You Sleep

So, How Goes the Good Fight

You Will Never Take Me Alive

Link 1 Link 2 Link 3

12. One more session from The Adventure Club. No idea about the date though? Maybe these two aren't even from the same set, but I'm just gonna put them together.

Songs:

Ever Since the Turn

Now We Just Slowly Circle...

First link Second link

These three recordings only have audio, but I still think they're worth mentioning

Probably will be updated if I find more, but those are my faves for now!!

[thepatchworkreview]

Bert McCracken of The Used, turned up the heat 🔥🔥 at Hard Rock Live in Wheatland.

.

[thepatchworkreview]

Love

My Chemical Romance at Bottom of the Hill, San Francisco, CA on January 23, 2003 | Danny Ensele for Sacramento Music Archive

[thepatchworkreview]

Nick Pant's New Pants?

 Nick Pants was Spotted Wearing a New Outfit on Stage, What on Earth is it about? Nick tells all.

--It actually wasn't that big a deal but after our last conversation about iconography, I wanted to be sure. 

Taken by photographer @redbrickwindow, this image gives us some insight into Nick's thought process as he moves into a new era of his musical career.

I was super curious to see what Nick had to say about this, so I rang him up. 

Apparently, at the venue where this photo was snapped, it was pouring rain, so the outfit was mostly for practical purposes. 

Though, afterward, he did say- and I quote "I am also trying to appear as an apparition more now". which is ALWAYS something I want to hear.

Nick attributes this to the fact that he's not really thinking about himself as much lately; that by appearing more ghostly, he's informing the audience to his loss of ego.

As always, I'm fucking excited to see how Mr. Pants decides to play his next hands. 

You can find him @NickPantsMusic on Instagram, and everywhere else through there!

[thepatchworkreview]

Stare (formerly Sells') new album cover that was released on their Instagram.

[thepatchworkreview]

How Stare (Formerly Sells) Has Improved

When I first saw Stare (formerly Sells) performing at the Cafe Colonial, I immediately realized they were something special. While under-practiced and incredibly rough sounding, they had undeniable mojo and spunk.

 Through a long list of complaints I had for them, including problems with tempo, consistency-- and general performance issues, I still held that I adored their energy and absolute bombast. You could tell they had the framework for a real killer act, and catching up with them recently I am only more confident that they will be seeing a lot of success. 

I nabbed an interview with the band, who told me they had played nine live shows total. 

Which made me feel like a real asshole for ever publishing my first critique on them.

All things considered, they managed to completely stun me with the progress they've made over such a short amount of time. All the issues with tempo-- across each instrument have pretty much disappeared, making them even more of a fucking powerhouse than they were when I initially reviewed them. 

Across the board, everything has taken a turn for the better. John, the face of the band, who was already a very skilled speaker, has wildly improved with crowd work, and everyone has really come out of their shells-- actually interacting with John and each other, generally looking more comfortable on their instruments-- Tell me if you've heard this one before-- but, that confidence is key! It is completely essential and adds oodles to the show, even if subtle. 

These guys have been bringing the heat since day one and I'm gonna be really surprised if they don't get some major attention in the coming years. 

I'm hoping to see them again soon and see what they're cooking up. 

They recently released a new single, which can be found on their Instagram page here.

Check them out! If you want to see a really good show at a good price point, they perform around the Sac area and always deliver. 

[thepatchworkreview]

Curtain Call: Nick Pants at Cafe Colonial - 12/22/23

Honestly, there's such a turn in Nick's eyes as soon as he puts a microphone in his hand. The guy hops on stage and fucking tears his heart out of his chest. He screams, dances, and thrashes around like a dying animal.

Aside from the massive intrigue that his performance provides, part of the reason that Nick's work strikes audiences so hard is because of how well put together it is. Discordant, haunting, fucking produced—It's goddamn astonishing to watch someone so young perform like a crowd of thousands is right in front of him, even if it's actually just a small room. 

The Nick Pants sound is very dramatic—by that I mean it is very 

epic—Like, in the very specific sense that it evokes a consequential—

epic horror and dread. It is this, mixed with so much concentrated rage.  In fact, If I had to put a word to the way that Nick plays and performs, it's concentrated. Concentrated rage, concentrated physicality—It is this concentration that allows for such acutely painful and incredibly charged performances—It has this—intention behind it. I think that intention is so desperate to be heard that people have no other choice but to identify with it.

Quick tangent: Victor on drums is such a fucking asset by the way. Nick's frantic movements are perfectly anchored by Victor's equally expressive, yet more stationary performance. I wanted to make sure that was in here, cause Victor killed just as hard and can be credited to a big chunk of percussive work alongside Nick. Not to mention his own solo project "Earhole" which has so many fuckin' gems of its own. Now to get back on track— Something I find particularly interesting is the creative choices made concerning the visual and tactile elements of the DD-DEATH show and album. Most notably the clothes Nick wore both on the album cover and at the show. 

In a separate, more specific interview I had with Nick about the cover art for "DD-DEATH"—He told me this about the decisions he made: "I enjoy iconography. If I'm not known for the music I'm known for the character I've created. Not to say the lyrics aren't real to me, but it's a specific part of me that I shared in this album." This is a really insightful comment. It shows that Nick doesn't just think of his work in one dimension—Part of the complexity he has built alongside a specific music style and performance grandeur—is a crafted visual brand.  He also later stated that: "I made DD-DEATH from 2019 - 2022. I am 20 turning 21 now. Most of this was made in high school. Describes a lot of teen angst and growth during that time. So yeah that's what that character was molded from. It's me nonetheless. Whatever I release next is what I am during that time."  Partly representing the everyman (by simplistic color and styling choices), while also casting his own persona on the figure, the result is kind of this beautiful, relatable, metaphor for growing up. His bowling-patterned shirt and corduroy pants may very likely be cast off for his next album, the change in visuals signifying a change in character, from old—to new.  —"I always tried to contrast what the music is about with my outfits. I also just dress like that but I'm always told I don't look like I'd be making the music I make haha". Which—kudos to him for recognizing that he does just kinda look like—some fucking guy normally—and how that makes the show even more jarring when he does everything he does. Nick has been performing for about a year now, sometimes solo, sometimes accompanied by percussionist Victor. Having played about twenty shows total, with an upcoming seven in this year, we have more noise destruction to look forward to—AND an incredible amount of ogling to do as NICK HAS ONLY DONE 20 SHOWS??? I'm fucking blown away.  I find artists from the Sacramento area debut when they know they're ready. Once they've taken the time to decide what they want, how they want to present—and are one-hundred percent ready. Nick is one of those artists, and I would like to express the profound impact I forsee him having on the hardcore scene of today.  You can find Nick Pants on Instagram! As well as his counterpart Victor! Nick is on Spotify and Bandcamp!  Earhole is also on Bandcamp!I'm hoping to check in on his work in a couple months from now to see what's new and how he's grown. I look forward to it massively.  As always— Thanks for the read! See ya later!! 

[thepatchworkreview]

"You dont go to sleep and think Ill become a different thing Its more like the knocking Just starts to make sense You dont have to let her in Shell still die in the end But her hands are soft and sweet When she walks into your house She takes a seatI hope your body takes exactly the shape you want"- "i am just a grl", Manalia Li Rose

[thepatchworkreview]

Curtain Call: I've Never Been Here Before at Cafe Colonial - 12/22/23

Manalia, the sole performer of the both aptly (and hilariously) self-appointed "dream-punk-dance-music/shoegaze screamo" act called: I've Never Been Here Before; chose to share on her Bandcamp that "shyly, shyly" is what a sibling of hers used to call butterflies, a symbol commonly associated with the transgender community. If you don't immediately find that emotionally devastating—all context of her music considered, you can eat your own shorts. (excerpted from 'The Closed Eye Experiment' ). 

It isn't often that you get an artist who just blows you away with overt, unconcealed lyrics and themes of being transgender. (That's a statement I resent, yet still find true.)  Manalia leans heavily into the very real struggles and desolation that trans people face daily—Not speaking to family or loved ones due to living truthfully, being the abject of hate and cruelty in social settings—the list could go on for more pages than anyone would be happy to see—

"You dont go to sleep and think

Ill become a different thing

Its more like the knocking

Just starts to make sense

You dont have to let her in

Shell still die in the end

But her hands are soft and sweet

When she walks into your house

Having interviewed and DM'd back and forth with Nalia, I would just like to say, that she has been the kindest, most obliging, and most responsive gal the whole way through. She's got ideas and thoughts and easily expands on snippets in a forward, engaged, fashion.  These are staples of her art and craft. Her outright demeanor and creativity are showcased just as unmistakably in the album art she chooses to use, and the way she decides to tell her stories. (You have some concept album lore to look forward to y'all!) (Pictured below, A sketch of the demon, Cherary, for an upcoming project of hers).

In an interview I nabbed with Nalia, she told me she rated this show a good eight or nine out of ten. Having played about forty shows over the span of a year at the time, it sounds to me like this one killed preeeeeeetty darn hard. (Note; before playing solo, Nalia used to perform with another local Sac act, Nick Pants!!) Her favorite song to play live right now is "It's Raining Again", as it's her oldest song, and people still respond very positively to it.  Now, according to Manalia, her best song to play live right now is "grl (I can't see u)", which makes sense from how reactive the crowd was—  I cannot stress enough how intense and beautiful of an opening act I've Never Been Here Before was. A master of both hardcore and acoustic instrumentals/performance, I expect absolutely massive things from her in the future. You can find her on Instagram @iveneverbeenhereb4 And everywhere else through her linktree! Thanks for the read!!

[thepatchworkreview]

Curtain Call: Onorthochrasaei at the Colonial Cafe - 12/22/23

Like a death rattle, these guys SHOOK me. You have to understand it was this tiny kid just HOWLING into the mic fucking relentlessly. Mixed in were sampled vocal elements that said strange things and added to the complete fucking absurdity of the set. This is not to mention the drummer??? Blast beats to the attack of the vocals and backing tracks. Holy SHIT. The intentional tempo changes—unwavering screaming that highlighted the drumming—it really felt like art. It was dirty, and nasty, and fucking ruled. Just to give everyone some cool context for the band's name, (Glossaria.net {citation}), states that the word Onorthochrasaei refers to the mother of four Gnostic demons—all of which are elements of the psyche—and that Onorthochrasaei is matter, illimitable, and that the other four demons feed from her. Pretty cool shit. Seems to stem from second-century Jewish/Christian spirituality with an emphasis on self-spiritualism and polytheism.

I think this is an important tidbit to add because a lot of the samples played at intervals during Onortho's set seem to pull from—or at least are inspired by—excerpts from Gnostic literature (eg. "who is euen now at the Dore. Blessed are those, whose portion is not with the wicked"). Paired with the violence of the drums and the brutally stirring vocals, the meaning presents itself not in the juxtaposition, but more in the adjacentness of their symbolism. Screaming at the wickedness, rejecting it in the most violent way possible. It's like a battle cry; declaring that you will not be tread on or crossed, you are dangerous to those who don't wish you or others well. SIMILARLY, you cry and scream for those who have been lost. Of course, this is only one example, and only what I glean from it. In sum, Onortho's work captures a feeling of protection of self—a feeling of raw, savior-type empathy through strength and self-awareness, while also conjuring a massive eldritch energy that really completes, as far as motifs go, the big, scary sound that is the main pillar of the genre.

The music—as a genre—really took me out of my comfort zone. (I think that's a really important thing to both say and acknowledge as you continue to immerse yourself in more of these unfamiliar genres.) At some point, it stopped being screaming and blast beats and started contorting into a meditative yet highly aware piece of art. Every time you'd get lost in the screaming, it would stop, a clip of sound would play, and then it would start again— constantly immersing you in the performance, then yanking you back to realize that you are in fact watching a show. In this way, it was very reminiscent of the Talking Heads' "big suit era." Commercially, I find this genre of band does not always find a lot of mainstream success, however this is not to say that the genre is worthless. I think in an already unique topic and subgenre, they're really finding their niche, and are only continuing to get more creative as it goes. I cannot wait to see what narratives pop up in their next bodies of work.

In an interview I had with both the vocalist and drummer (Grim and Kevin, respectively), they divulged that Kevin had begun as a solo act around June or July of 2023, and had picked up Grim sometime about three months prior to the show on the twenty-second. The band together has played less than ten shows.

Grim rated their performance a solid 9/10, stating it was a good day for their vocal cords, and that their strength and tolerance were increasing.

Kevin was a bit more critical of his own performance, saying he messed up a couple times and may have rushed a little, ultimately ranking it a 7/10.

I say, for having played less than 10 shows, you get a pass. I couldn't notice anything. PLUS! My editor/secretary/tempo expert said, and I quote "You have no idea how fucking hard it is what he just did. Frankly there's nothing I'm complaining about. I've been playing drums for seven years and I cannot do what he just did".

Onorthochrasaei fucking rocked. They took us all to a place we weren't expecting, and I think shocked us so much that we didn't know what to do except stand around like idiots. At least- for me, that's how it went, there was A LOT of moshing during the set—

I can't wait to catch up with these guys again after they've played more shows and had more time to develop their act. They're already a massive powerhouse, and at full upside, I can't imagine how impressive their set is gonna be.

You can find Grim @Cosmetic.plague_

and Kevin on their main band page @Athletes.mouth!

[thepatchworkreview]

This is Killer Couture at the Cafe Colonial in Sacramento, ending their set by playing Nine Inch Nails' "Closer" with a fucking sander on a trashcan!

[thepatchworkreview]

Follow-up to a Great Album: PORTALS - By Melanie Martinez

Melanie Martinez has had a good run as far as I'm concerned. If you can start your career with an album like Crybaby and then proceed to follow it up with K-12, you're balling. Like, certified balling. 

The problem I have with PORTALS is that it sounds generic. 

Considering the amount of time and money that went into it, this should not be happening after you've proven that you can outdo yourself with less. The generic sound and overall flimsy narrative is also not part of a gag or meant to be a statement about anything—at least not how I read it, which really detracts from the work as a whole for me. 

It looked like a concept album, the song titles set us up for the expectation of a story... And yet— It has nothing to show for itself. "NYMPHOLOGY" is the closest we get to concrete connection to the apparent themes of the album, and it is only because its so explicit. 

No, the themes aren't "subtle" or "just not surface level", they're not present. The album suffers for it. 

 (I would like to include that I have no words for the film—Melanie claims she's been sitting on the script for years and after K-12's film, I'm awaiting the release very intently.)

I did like some of the songs. But it hails back to the reason why her first two albums did so well. "DEATH", "NYMPHOLOGY", "MILK OF THE SIREN"—all sounded sincere, and had profound things to say about female sexuality and marginalization; realizations of the feminine self in the disturbed context of previous, less accepting eras.

"Our mothers, the witches they banished and burned All of our sisters were killed and abused

By sword-swinging men who would always accuse" - "MILK OF THE SIREN"

Not only are those some of the hardest bars in history, but the whole song making the metaphor of becoming a siren, is a kick in the dick. Sirens are historically items of lust that kill men. DO I HAVE TO SAY A WORD MORE??? The metaphor reinforces itself unaided. Mwah. 

These tie in with album art and compliment it well. To single these out- they're really good standalone pieces of work. 

Overall, the launch package and album art are visually stunning, but the follow-through, live shows, and instrumentation are lackluster—it's a mess of lots of really cool ideas and themes that reads more as an unremarkable grab from her record label to create an easily digestable, super-loveable pop-punk release. If I had to guess, this is how she's going to be funding the film, so there's a another reason why it might be how it is. We still love Melanie and hope to see what she does in the future—though, I would like to see more of the real Melanie spunk and style peek through.

(*Editor's note: this review is specific to the 2023 release of PORTALS (Deluxe))

Many thanks for those of you who took the time to read! Let's pick this up again, some other time. 

 :)

- Patch