It has been a relatively rocky road for Weatherford alt-country outfit Green Corn Revival, which has seen its share of highs (acting as backing band for rockabilly icon Wanda Jackson) and lows before an (amicable) split in the road led half of the original lineup to forming Honeylark.
Oklahoma is quickly becoming the indie Christmas music capital of the world, it seems, with yearly compilation albums featuring everyone from Stardeath and White Dwarfs to Graham Colton. So it makes sense that Colourmusic — freak-poppers hailing from Stillwater — would craft a full album of original, offbeat holiday tunes themselves.
The Oklahoma City metro has a thriving garage rock scene. With seasoned acts like Broncho and Copperheads carrying the modern-day torch, the way has been paved for a flock of gritty, young, guitar-centric acts. But nascent Norman trio Poolboy has a knack for riotous hooks that few of its contemporaries can boast.
The Flaming Lips’ longevity has allowed them to cover a lot of sonic terrain over the years. Yet they’ve arguably become more adventurous with age, jeopardizing a good portion of their fan base in favor of fascinatingly bleak experiments in sound, beginning with Embryonic in 2009 and, more recently, The Terror.
One of the Internet’s consistently best things is La Blogothéque’s Concerts à emporter, or Takeaway Shows if you’re an unsophisticated American. Video producer Vincent Moon regularly captures the finest storytelling details of the planet’s best bands, whether performing in actual concert (as WU LYF does, below) or in some out-of-context staging that spontaneously spotlights the band’s strongest music sensibility (see Local Natives’ soaring vocal harmonies in a spacious shopping mall, for instance).
In WU LYF’s case, the sepia tones here really match that lush organ that haunts every one of their songs, hanging over the aggressive, soaring sonic mess they create with each performance. Also, it’s just nice to actually have some video of their performance; proof that they’re actually a real thing. Their relative anonymity is one of the reasons I liked the mysterious Englishmen’s debut album so much, and these two tracks, “Summas Bliss” and “Heavy Pop” just made me really sad that they’re busy bouncing between Europe and the American coasts.
Also, massive respect for the Clarence Clemons shoutout in between songs. May the Big Man rest in peace.
Also, turns out the band just put out a video for the song “We Bros.” It’s below.