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Akron/Family

YouTube Video

Plain and simple, if you go to an Akron/Family concert and do not have fun, you just don't like music.  Akron/Family are this year's "it" band from Young God Records and they've bloody earned it: they have been touring non-stop since April of this year (2005).

The Eye finally caught up with them on their third time through this year and this time was easily their best show ever.  We sat down with Miles and Dana for some quality time talking about their music, working with Michael Gira, and crowd surfing, amongst other things.

Once again a special thanks go out to Stacie of The Critique of Pure Reason who has a knack for picking some of the best shows to produce that ever come to town.

 

The Eye: Video of the Day

The Sea and Cake

YouTube Video


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Review of the Day

PHILIP JECK, "STOKE"
Touch
Philip Jeck always seems to surprise and surpass expectation every time I hear him perform. I've heard him spin out haunting loops for avant garde dancers to strut about to in art spaces. I've heard him spin stickered platters alongside guitarist Vergil Sharkya and fractal videographer Gerd Willschvetz in an underground car park in Liverpool. I've heard his scaffolded ranks of old car boot turntables mash up crackly memory traces from worn needles bumping into wires and stickers in a London gallery. I've heard him go walkabout at a festival opening, cutting up dictaphone recordings with the pause button. After his ambitious quartet of lengthily (r)evolving 'Vinyl Codas' released by the Intermedium label, he returns to Touch with seven shorter live excerpts from performances in Liverpool, Manchester, Osaka, Tokyo and Vienna. With only a single sample Casio keyboard to aid the junkyard turntables spinning varispeed deteriorating vinyl, he necessarily limits his options but unlocks endless potentials from abundant alternate histories coded in the grooves. When he loops records at low speed, worn old cliches morph into haunting new textures. A phantasmal keyboard hoot that forms the bedrock of "Pax" sounds like it might've morphed slowly from a cheesy old J. Geils Band charity shop hit. "Above" cuts scratchy old vinyl into train chug clunks and chicken squawk with some slowed speech narration to explain what exactly isn't going on. "Lambing" is a home recording, soundtracking a film by Lucy Baldwyn, and wouldn't sound out of place on his previous Touch CD 'Surf,' with groaning ghost vox repeating an eerie refrain over the crackle'n'drone spin, until slowly a sunrise glow cracks dawn beneath the locked groove rhythm faultlines. "Vienna Faults" waltz around like a music box in a tumble dryer. There's some crazily mangled sitar "Below," reversing into hollow metal hammering, cut dead by a sudden descending blues guitar riff. "Open" seems to rework familiar noises from 'Surf' into a noisier delayed clatter. "Close" does just that, with some more sitar loops, more meditative but just as playful as before. Stray starry plucked fragments drop in at odd angles until a loop locks and deteriorates to a stutter as a single piano note bashes to infinity. A ghost choir of Hamaiian folk singers emerges from the vinyl crackle fog to bid a fond farewell. If you haven't heard Philip Jeck before, this is not his most immediate recording and 'Surf' or the 'Vinyl Coda' series might be better ports of entry. He has not yet left the building.

 

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