Oh Sees, Shabazz Palaces

Granfalloon: A Kurt Vonnegut Convergence

Oh Sees

Shabazz Palaces

White Moms

Sat, May 12, 2018

Doors: 8:00 pm / Show: 9:00 pm

$25.00

This event is 21 and over

Oh Sees
Oh Sees
It is easy to forget (especially amidst the ringing of ears and aching of muscles after your typical Oh Sees show) that initially, OCS was a rather hushed affair. After the minimalistic brutality of Coachwhips, OCS was a diametric opposite corner of John’s musical world, quiet to the point of whispered in the wind, buffeted by the airy whirr of singing saw, soft and strange. Those early records especially had a rather contraband hush about them, as if the party has gone on all night and continues into the morning but everyone’s raspy from talking too much and gradually agrees to whisper and pantomime as they watch the sun come up over the hills. Since then of course, things got gradually louder, faster, crazier…the band evolved since then into the Oh Sees everyone knows. For the 20th Oh Sees release, 100th Castle Face title, and 20th year doing it, John re-examines the quieter roots of it all in particularly baroque and homesteadly fashion. Memory of a Cut Off Head was co-written with longtime collaborator and vocal counterpoint Brigid Dawson, recorded in total in John’s own Stu Stu Studio, and it’s lush, sumptuous in texture, but satifyingly retains the gentle grace of the early stuff. There’s beautifully executed strings throughout, courtesy of Heather Lockie’s fine arrangements, horn arrangements courtesy of Mikal Cronin, and they even brought back the old saw – Patrick Mullins, that is – on saw and electronics. A return and a refinement of old forms, a few solemn meditations on life lived at high velocity, perhaps a respite from it…a softer side of JPD and distinguished company.
Shabazz Palaces
Shabazz Palaces
…THE FOLLOWING IS A TRANSMISSION FROM THE UNITED STATES OF AMURDERCA ALREADY IN PROGRESS…

…POST LANGUAGE. WE TALK WITH GUNS. GUNS KEEP US SAFE.
WE DONT IMAGINE PAST THE IMAGE. PLEASE. YOU KNOW US.
WE KILLED LOVE WE KILLED MONEY WE KILLED PRINCE WE KILLED SHAME
WE KILLED HOPE WE KILLED SEX WE KILLED PRIDE WE KILLED STYLE
WE KILLED IMAGINATION WE KILLED FRESH WE KILLED THE GAME
WE KILLED AIR WE KILLED DOPE WE KILLED DEATH


————————————TRANSMISSION INTERRUPTED————————————

Quazarz came to the Earth from somewhere else, a musical ambassador from his place to ours. Somehow, through fire or through fury, the Palaceer of Shabazz Palaces caught wind of the tale, and it is through his prism that we hear the story.

The beach was there, and Atlaantiis, and chemical alterations and cell memories and Andre Norton, Richard K. Morgan, and always Octavia Butler. There were killings and there were votes, and brutality in both. There was sound and there were other worlds, and there was a vastness so participation sometimes came only at the edges. And the Palaceer coasted down with the alien notion, like Quazarz, and so became.

On Quazarz when they look at this place here they see the inhabitants, the humans, but they don’t assess as we do. And so when Quazarz was sent he was sent to meet a cat with vibration, a creative and courageous, caring, compassionate dude that stood out. The dude was a drug dealer, but that was neither here nor there, until his dealings squashed the rendezvous, leaving our alien alone to figure out what this place is really all about.

Coming from, as we all used to, a simpler less complicated more essential innocent place, the hero could not make heads nor tails of most advancements. From an aerial view, he saw that a good percentage of earthly vibrations were on very small squares and it became his belief that this world was very disposable and the spans short. His opinion was not of anything good nor bad but simply the truth.

The machines—he noted—though at the behest of their master’s voice, are scorned, and jealous as all hell.

And so the tale is told while surfing on the board of Shabazz Palaces, with its sturdy sort of base angled for takeoff on a new trajectory. There is new blood and space and room to be different and have different assets and different art and different ways to talk and also open up some space inside to do something new. There are pages and there are drawings, and color and faces and inked dialogues written in ancient futuristic hieroglyph. There are scales and there is melody and there are Sunny days and there is Darkness, but that—it should be noted—to the Palaceer is not a lack of illumination or brightness. Maybe it is dark, but in it is always optimism and joy, a bright darkness and a full, hopeful one as well.

It comes in gold, and it comes for the night. And so Quazarz sang the Jealous Machines. And so too did the Jealous Machines sing the Gangster Star.


—————————————TRANSMISSION RESUMED—————————————

…speaking of air and darkness, Born on a Gangster Star came into the world in a big damn hurry, like nightfall on an island. You can see it happening, but then again it’s so gradual that the next thing you know—it’s dark.

Imbued with the energy and ideas from all the creative embers floating in the atmosphere like fireflies, Shabazz Palaces recorded this entire album over the course of two weeks with Blood in Seattle. New gear and new equipment disintegrated comfort zones into dust and a new path appeared in the ashes.

Herein the Palaceer continues the tale of Quazars, a sentient being from somewhere else, an observer sent here to Amurderca to chronicle and explore as a musical emissary. What he finds in our world is a cutthroat place, a landscape where someone like him could never quite feel comfortable amidst all the brutality and alternative facts and death masquerading as connectivity.

Inspired by days on end spent in the waves—water and light, both—of Southern California, the work came to the Palaceer in a flash, like being picked up by something and carried. Always dribbling with his head up, he can see what’s going on around him and react to it, rather than starting in a certain direction and hoping to achieve something upon arrival.

What’s good?—the kids ask. What does it even mean, and what does it even matter? Who is behind these choices? We are all of us sitting under a waterfall of all. this. shit. but it’s the excess that is casting us into ruts.

The Palaceer stays away from the fleeting and the superficial nonessential. Stay away from your device—your phantom limb—and stay away from your image—your phantom self; that is his decree. Considering the motions behind the things you like to consume artistically, rather than just the way something looks or sounds, and thinking in layers, and trying to be more considerate and not so self-oriented—this is his medicine for combat.

Born on a Gangster Star flirts with a pop sensibility, but through the prism of Shabazz Palaces’s fire and fury. For the Palaceer, that sense is all about how the groove is moving, and the supernatural telepathy that occurs amongst his cohort. Appearing here, in body or in spirit, are Thundercat, Darrius Willrich, Gamble and Huff, Loud Eyes Lou, Fly Guy Dai, Stu Levine & The Jennings Sisters, Thaddillac, Ahmir, Jon Kirby, Sunny Levine, and Blood. The story belongs to Quazarz, but the air and darkness belong to us.

And so we shine a light on the fake.
White Moms
White Moms
Venue Information:
The Bluebird - Featured Events
216 N Walnut St
Bloomington, IN, 47404