Power Pyramid doesn’t have much patience for nonsense. That appears to be the takeaway from the Oklahoma City quintet’s last 10 months, which brought The God Drums in September, the Insomnia EP in January and its latest, self-titled effort in July.
The world is in the midst of an electronic music renaissance, and you find most of this boon of producers laying claim to the club-friendly, bass-dropping variety, holing up in the the free-flowing world of hip-hop beatmaking or pitching their tent on the out-there, boundary-pushing EDM camp.
Broncho has never been hurting in the hook department. The success of the trio’s 2011 debut, Can’t Get Past the Lips, was predicated mostly on its ability to marry melodies with kinetic guitar riffs and anarchic energy. Yet we’ve heard nothing to the degree of pure pop catchiness on display in “Class Historian,” the new single from Broncho’s upcoming sophomore album, Just Enough Hip to Be Woman.
No one wants to be forgotten; everyone wants some sort of legacy, a mark they leave behind as they exit this life for whatever lies beyond.
And for as long as there has been death, there have been monuments — whether austere or understated, abstract or concrete, prominent or tucked away in private — erected by the ones they loved to assure that remembrance, at least for a time.
Emma’s Revolution 7 p.m. Saturday The Blue Door 2805 N. McKinley bluedoorokc.com 524-0738 $15-$20
One of good spirits and consciousness raising, Emma’s Revolution came to life in 2002, driven by the creative and romantic partnership of Pat Humphries and Sandy Opatow. It took eight years for the fire to spark, but when it did, Humphries was blown away.
“I was really struck by the tremendous ease with which we could sing together,” Humphries said. “But I didn’t really know how the writing would happen. It came together so organically, it was really an enchanted feeling. It was almost like we couldn’t stop the songs from coming.”
The duo attempted many names before settling on Emma’s Revolution, a reference to the famed statement “If I can’t dance, I don’t want to be part of your revolution,” credited to anarchist Emma Goldman. It’s fitting for an act that doesn’t adhere to folksinger rules.
“When we write these songs, we don’t write it necessarily with our guitar in our hands,” Opatow said. “We write the songs the way they sound in our head. We don’t feel limited by ‘We’re acoustic musicians, so we have to sound like whatever people’s idea of that is.’” Revolutions Per Minute, their
fourth album, is an eclectic batch of tunes, culling from modern rock
and bluegrass. The latter appears on “Occupy the USA,” a track that
invites “the 1 percent in power, meet the other 99.”
Humphries wrote the cut last Oct. 6, just in time to get it on the CD, which came out the following month.
you’re doing social-justice music, that’s how fast time moves,” Opatow
said, “so actions and the music need to move with it.”
Much of Emma’s Revolution’s music is a rallying cry meant to offer hope to those fighting the good fight.
would like us just as a culture to be a more attuned to how easily we
can be manipulated by the powers that benefit from polarization,” she
said. “People are more flexible, tolerant and resilient than we give
them credit for.”