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Tank & the Bangas embrace connection and the wacky side of isolation on Friend Goalson November 25, 2020 at 2:00 pm

When New Orleans band Tank & the Bangas invited their friends and family to help them cover Hal David and Burt Bacharach’s pop classic “What the World Needs Now Is Love” in January, they embraced the song’s earnest call for kindness, sprinkled in spoken word urging people to come together in peace, and wrapped up with an a cappella solo from Harmony Ball (the young niece of lead singer Tarriona “Tank” Ball), whose childlike sincerity could stir up hope in the bleakest pessimist. In June, the group released that single in solidarity with the Black Lives Matter movement and the Equal Justice Initiative, and on their new six-track EP, Friend Goals (Verve Forecast), they echo the song’s longing for connection and authenticity. Though the band wrote most of the material on Friend Goals separately and collaborated via Zoom before recording in various home studios, it’s not the lo-fi affair you might expect from such a setup. Since forming in 2011, Tank & the Bangas (the current core lineup is Ball, saxophonist and flutist Albert Allenback, drummer Joshua Johnson, and keyboardist Norman Spence) have combined funk, neosoul, R&B, and more, and on Friend Goals they continue to serve up a stew of styles and vibes. Ball has a broad range as a singer too: earlier this year she collaborated with Fantastic Negrito on his album Have You Lost Your Mind Yet? and released acoustic covers of Nirvana’s “Smells Like Teen Spirit” and Norah Jones’s “Don’t Know Why,” and on the new EP she alternates between singing in her deep, velvety alto and rapping that draws on her background in slam poetry (sometimes she even lets out a joyous whoop). The jazzy, danceable “Fluff,” which features rapper Duckwrth, feels like a cool breeze and evokes early-80s Quincy Jones with its keys, horns, and bass line. The flute intro to “Self Care” leads the way into the wacky world of isolation during the COVID-19 pandemic; Ball joins several guests (longtime contributor Anjelika “Jelly” Joseph, R&B singer Jaime Woods, and rapper Orleans Big) to address how prolonged self-quarantine can test anyone’s mental health but also provide time for people to focus on themselves. “Mr. Insta,” a collaboration with Alabama-born rapper Chika, examines the duality of social media for artists who can harness their platforms to grow their fan bases but may struggle with tying their self-worth to the number of likes on a post. And on the laid-back title track, which features New Orleans rapper and singer Pell, Ball expresses the human need for companionship: “Everybody want somebody they can kick it with. . . . Trust me, everybody need a good friend.” In a time of necessary and prolonged isolation, that sentiment rings especially true. v

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Tank & the Bangas embrace connection and the wacky side of isolation on Friend Goalson November 25, 2020 at 2:00 pm Read More »

Chicago Bears: 3 logical reasons to fight for the playoffson November 25, 2020 at 1:00 pm

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Chicago Bears: 3 logical reasons to fight for the playoffson November 25, 2020 at 1:00 pm Read More »

Stella’s Diner: A place to call homeon November 25, 2020 at 1:45 pm

Medium Rare

Stella’s Diner: A place to call home

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Stella’s Diner: A place to call homeon November 25, 2020 at 1:45 pm Read More »

Chicago Bears should consider drafting two QBs in 2021on November 25, 2020 at 12:00 pm

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Chicago Bears should consider drafting two QBs in 2021on November 25, 2020 at 12:00 pm Read More »

Amazing holiday gifts for the Chicago sports fanaticon November 25, 2020 at 11:14 am

Masterbuilt MB20071117 Digital Electric Smoker

Okay, so you might not want friends over right now. Or friends might not want you over right now. But one day, hopefully soon, we will reconvene. And when we do, we’re going to be hungry. So smoke some meats!

Already own a smoker? Prefer grilling? Take a look at some other options below.

Happy Holidays, FanSiders!

This post contains affiliate links, where we may receive a percentage of any sale made from the links on this page. Prices and availability accurate as of the time of publication.

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The Next Five Years: Fixing The Offenseon November 25, 2020 at 12:51 pm

Cubs Den

The Next Five Years: Fixing The Offense

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The Next Five Years: Fixing The Offenseon November 25, 2020 at 12:51 pm Read More »

Delia Derbyshire Day celebrates a pioneer of electronic musicon November 23, 2020 at 12:00 pm

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Delia Derbyshire in the 1960s - IMAGES FROM WIKIDELIA.NET

It can be tricky to pick a subject for an open-ended column like the Listener, but when I realized today was Delia Derbyshire Day, my choice was obvious. In the early 1960s, this UK electronic composer and performer helped change the world of sound as we know it.

Born in Coventry in 1937, Delia Derbyshire fell in love with sound against the backdrop of the blitz–she later described the air-raid-warning and “all clear” sirens she heard as a child as her first experience with “electronic music.” After studying mathematics and music on scholarship at Cambridge, she was turned down for a job at Decca Records due to a ban on hiring women to work in the label’s recording studio.

After bombarding the BBC with applications for more than a year (while teaching, traveling with a theater troupe, and working for a music publisher, among other jobs), Derbyshire became a program operations assistant in late 1960. The following year the BBC promoted her to studio manager, and in 1962 she made her most momentous move, requesting a transfer to the Radiophonic Workshop.

Cofounded in 1958 by fellow electronic-music visionary Daphne Oram, the BBC Radiophonic Workshop was a sound-effects lab that quickly evolved into an important incubator for electronic music and technology, despite its dilapidated equipment and cramped conditions. Most BBC staffers had to be compelled to join the workshop, and they tended to stay just a few months, but Derbyshire spent the next 11 years there. Because this was before the widespread adoption of synthesizers and computers, her process was a painstaking one: working mainly with reel-to-reel tape, she recorded, cut up, and transformed an inventive variety of electronic and acoustic sounds.

Derbyshire is most associated with her iconic 1963 version of Ron Grainer’s theme for Doctor Who, but that was the only time in her career that she arranged someone else’s composition. Her body of work includes original pieces for more than 200 radio and television programs, as well as music for stage productions.

In 1966 Derbyshire helped launch Unit Delta Plus, a group intended to promote the creation of electronic music and encourage its use in film, TV, and advertising. In 1968 she founded the studio Kaleidophon with David Vorhaus and Brian Hodgson, and the following year they released the album An Electric Storm under the name the White Noise (which Vorhaus has kept alive to this day). She largely retired from making music in 1975.

It took decades for Derbyshire to be recognized for her contributions, in large part because the BBC’s standard practice was to credit the Radiophonic Workshop for compositions by its staff–this not only denied her royalties but also ensured she’d remain obscure during her most productive years. Derbyshire passed away in 2001, leaving behind nearly 300 reel-to-reel tapes (most of which have since been digitized) and a thousand papers in her attic.

Delia Derbyshire Day 2020 is Monday, November 23, and marks the 57th anniversary of the first TV broadcast of her famous Doctor Who theme. Beyond listening to her music, one of the best ways to celebrate her legacy is to experiment with sound on your own–and you don’t need experience to have fun mixing and matching loops and effects in the Delia Derbyshire Day organization’s online Deliaphonica game. v


The Listener is a weekly sampling of music Reader staffers love. Absolutely anything goes, and you can reach us at [email protected].

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Jesu seduces you with melodic bleaknesson November 23, 2020 at 6:00 pm

UK guitarist and composer Justin Broadrick is best known as a founding member of the industrial metal assault that is Godflesh. But capturing purely annihilatory noise in that pounding maelstrom is not his only musical interest. He formed Jesu in 2003 to focus on postpunk, goth, and the bleaker, lonelier shores of shoegaze, and characteristically, his latest album under that name, Terminus (Avalanche), is an exercise in nonmetal darkness that provides chiming soundscapes for a gray and empty existence. Broadrick conceived Jesu partially as an avenue to explore his own take on pop songwriting, and there are a lot of hooks drifting around in the growling murk of these songs. “When I Was Small” has a bottom-scraping stoner-sludge heaviness that grounds Broadrick’s strained, echo-laden, everydude vocals as he delivers lyrics (“I tried to see both sides / But I failed / I failed to be the one”) that feel like a good summation of the album’s thematic obsessions with mope and trudge and sadness. “Disintegrating Wings” is positively pretty, with crystal tones fluttering about until they come apart against huge distorted guitar chords. Jesu isn’t all about pounding you into paste (so in that sense it’s gentler than Godflesh), but the sweeter voice of Terminus is nonetheless intent on luring you into its own nightmarish abyss. v

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Composer William Basinski combs four decades of his personal archives to build something new on Lamentationson November 23, 2020 at 2:00 pm

William Basinski has thrown himself headlong into the kind of “productive quarantine” that seems like a myth to most of us, and the spoils are abundant. Since March, when states across the U.S. began issuing stay-at-home orders, he has unveiled a collaboration with sound artist Richard Chartier and a new project called Sparkle Division. The New York-based composer and musician is best known for the four-volume audio experiment The Disintegration Loops, which he created in summer 2001 by recording the deterioration of tape loops he’d made in the early 80s. Dedicated to the victims of the 9/11 attacks (he finished the work the day the towers fell) and released in four installments across 2002 and ’03, The Disintegration Loops made such an impact that in 2012 it was inducted into the National September 11 Memorial & Museum. Since then, Basinski has continued his deep explorations of the realms of sound, and this month the concept-driven composer released Lamentations, which draws from more than four decades’ worth of tape loops and sound sketches plucked from his archives. The passage of time isn’t just a palpable part of this music–it’s an integral collaborator in its creation. “Tear Vial” thrums in an aqueous haze through nearly five minutes of slowly oscillating piano chords, and “O, My Daughter, O, My Sorrow” (a tribute to performance artist Marina Abramovic) dissolves Svetlana Spajic’s interpretation of Serbian folk song “Ko Pokida Sa Grla Djerdane” to make a surreal hymn. Lamentations isn’t all serious and somber, though–the chopped-up singing that stumbles and restarts throughout “Please, This Shit Has Got to Stop” makes it sound almost whimsical. While many of Basinski’s contemporaries aim to create music that’s crystalline and timeless, he documents decay–a fizzling loop, an oxidized tape, even the dwindling nature of life. Lamentations shares its name with a book from the Old Testament, readings from which are used to mourn the ravaging of the First and Second Temples in Jerusalem, but the music on the album doesn’t care to answer the question of whether it’s a memorial or a reprieve from this stressful time. For Basinski, it’s possibility–not hope–that springs eternal. v

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Composer William Basinski combs four decades of his personal archives to build something new on Lamentationson November 23, 2020 at 2:00 pm Read More »

Crusty metal six-piece Ilsa call out cruelty and corruption through the story of an 80s murdereron November 24, 2020 at 6:00 pm

Even if you buy into the idea that musicians should stay out of politics, how do you overlook the politics baked into everything around you? Take the COVID-19 pandemic: What’s more destructive, the virus or the leaders who don’t even try to get it under control? Preyer, the new album from D.C. six-piece Ilsa, was born in lockdown, and they use it to take the piss out of the corruption, inhumanity, and lust for power that helped drive society to this particular brink. With a caustic blend of death metal, doom, sludge, and crust punk, Ilsa reframe the story of Sean Sellers, the only person the U.S. has put to death for crimes committed under age 17 since reinstating the death penalty in 1976, as an indictment of what they see as a toxic Christian nationalist state; at his trial in 1986, he claimed he’d been an active satanist and possessed by a demon when he shot and killed his mother and stepfather (though by then he’d converted to Christianity in jail). Ilsa set the scene with opener “Epigraph,” which accompanies slowly building doom metal with testimony from Sellers about the night in 1985 when he murdered a convenience store clerk. Sellers appealed for clemency, citing his conversion and a diagnosis of dissociative identity disorder, but he was executed in 1999. Sellers’s crimes were unquestionably heinous, but it’s essential to question a system that justifies applying the death penalty to a teenager who may have had a severe mental health disorder. We have to look at those who benefit from such a system and why–elected officials, for example, who campaign on religious principles, only to vote against funding for public health and social services and accept donations from for-profit prisons. (As vocalist Orian sings on the anti-Christofascist groover “Shibboleth”: “Faith’s distortion is noxious / Contrary to liberty.”) In that sense, Ilsa speak heavy truths to power just as successfully as they lay down colossally heavy riffs. v

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Crusty metal six-piece Ilsa call out cruelty and corruption through the story of an 80s murdereron November 24, 2020 at 6:00 pm Read More »