Seeing coverage from NPR, The Fader, and Stereogum not two weeks into 2018–and her new album’s lifespan–Sidney Gish promises to explode. No Dogs Allowed’s reception is earned though, showcasing masterful songwriting and playful disposition. Her consciousness flows in monotonously perfect melody as jagged guitars float above a foundation of diy/classroom sounds. Sometimes the songs fall a bit too heavily into the posh npr pop aesthetic with melodies a bit ham-fisted (i.e. I’m Filled With Steak, and Cannot Dance) but charm seeps from the project’s pores, indicating a great-deal of success to come.
The album is a testament to polarizing youth. Opening with “Sin Triangle,” Gish depicts herself torn between wanting to go out, wanting to stay in, or perhaps wanting some sort of disease rather than this inner strife. She knows her bad habits but no way to absolve them; wants affirmation but she’s “not a lot like you” or her peers. Between her deep dive on the pronunciation of Persephone and her toying with the idea of life as a dog, Gish stands out in a crowd. Yet, relatability reigns throughout in her depiction of the terrifying period in life where we have to define who we are.
Riding his usual wave of intimate, self-produced beats and sputtering, rhythmically disorienting flows, rapper milo continues his wave on his latest Scallops Hotel project. Toying with ideas of anti-capitalism and systematic racism, milo often finds himself torn. “And I know property is theft/but it’s still some things I’m wanting” he admits on the opener, before wondering about a life outside of the experience of people of color he takes pride over: “To live without fear of penalty, penance, gangs, wrong, shit.”
Humor and childlike awe pull him away from his anxieties. “This no roundabouts, I play the Yes album for round about the thousandth time,” a young music obsession flourishes. “I’ve never hit the creatine/Ain’t no muscles big enough to stop the guillotine” sees his darkness, whereas the outro of Wherearewe finds bliss, falling out of time as milo discusses Captain Caveman with a slightly different-aged millennial.
Sporting an energetic verse from YOUNGMAN and an addicting, lilting beat, “Private Temple Hours” is the standout track. “Youngman in the house like a foyer/And when I punch Nazi goys they say oy vey, enjoy hey,” it’s a match made in heaven.
The first Scallops Hotel project was a 40 minute collage of stream-of-conscious thoughts and arrogant face has the same sensibility with a few moments yielding standalone value, including the closer Sedans, a Steel Tipped Dove co-produced track that bursts the usual sluggish tempo and reaches for loftier crowds. His current work is for heads and heads only, but his lyrical footing is ridiculously strong. More hyped up tracks and quantized flows could see a little bit of world-conquering in the coming years.
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This week’s episode (is four days late….) features excerpts from an interview I did over the summer with Canadian Improvising Drummer Nick Fraser. We spoke a bit about his philosophies surrounding improvisation and the process behind his latest album Starer which you can find at nickfraserthedrummer.bandcamp.com! New music from outside the jazz world included after the interview portion. Tune in!
(photo credit: Christer Männikus)
Playlist (artist-“tune” from album)
Nick Fraser-“Sketch #20/22” from Starer
Gintas K-“Minmi” from Under My Skin
Sarah Davachi-“Ghosts and All” from Vergers
Sneaks-“Inside Edition” from It’s a Myth
The Courtneys-“Silver Velvet” from II