"s/s/s started to sound like the Nazi Schutzstaffel with a lisp so we had to change it. We wanted a word with three S’s and Sisyphus felt like a capable anti-hero—endless struggle, the human plague, the existential condition. We are all working towards nothing. Also, the apparent futility of this collaboration—a black rapper from Chicago, a white singer-songwriter from Detroit, and an arty producer with cool glasses, though I dunno where Ryan’s from, Cleveland? We have so little in common but we have deep love for each other and we are pushing that stone together." That's Sufjan Stevens, talking about his collaboration with the rapper Serengeti (David Cohn), and singer/producer Son Lux (Ryan Lott), who released their Beak & Claw EP last year as s/s/s (Bandcamp), and have recently released their debut album as Sisyphus (Bandcamp). [more inside]
"We have entered the new millennium and yet we still have no idea what 95% of the universe is made of." The Large Underground Xenon experiment has failed to see a single particle of Dark Matter. Will the Lux Zeplin have better luck?
The Cramps ripped it up, madly channeling the sordid specters of rock 'n roll's past while staying true to its psychedelic future, even when voxman Lux Interior was a lean 59 years old. The first show from their last-ever tour does nothing but prove it. [more inside]
Give it up for The Cramps and The Gun Club. Two of the greatest bands to come out of the late 1970s/early 1980s punk scene, they (wikis here and here) shared a few things in common: guitarist Kid Congo Powers as well as a penchant for re-invigorating the raucous, carnal, primal spirit of American popular music--i.e. early garage rock and rockabilly (what the Cramps dubbed "psychobilly") and blues. Start with this screamer from The Cramps, and this blistering classic from the GC's first LP. [more inside]