All posts by Ruune

Tazha The Diviner releases new video “Living”

Dropping this aesthetically strong video on the first day of 2019, Tazha The Diviner has unleashed an infectious beat into the world. With a lavender confidence, this spellcaster, graphic designer, musician, and artist has given us a great gift to start off the new year. Part call to arms, part motivational speech, “Living” has a healing quality to it, and if you let it, it can flow through you.

You can stop their main website to see all the amazing projects they do, and follow them on instagram @Tazhathediviner

Toughboy is extremely relatable with new single “Sleeves”

Get your 2019 started off right and chill by checking out a new single by Toughboy titled “Sleeves”. Did you work way too hard in 2018? “Sleeves” has a great mood: it’s got a relaxed beat, but also feels determined and confused. As someone who cuts all of my clothes up and down in order to find a way to make them fit my body in a way that makes me feel gender-a-okay, I related to this song a lot. Musically it feels like a way better and more interesting version of Weezer, but if Weezer hadn’t turned terrible and had the epiphany to stop turning up places they weren’t wanted.

You can find this single, as well as a slew of other work by this artist, on their bandcamp page, and follow them more on instagram at @toughboy.online

The Sexbots Release The Powerful Cat-Lady Album “I Always Knew You Were A Bitch”

Some people will make the point about electronic music that anyone could make it, and I would agree: it is a span of genres that can be incredibly accessible to make music creation more available to more people so that we can have more awesome music in the world. However, I would argue that while it is, perhaps, “easier” to make electronic music, it takes a special kind of creative person to take it in a direction that is both boundary pushing and familiar at the same time. Sure, anyone can make a beat, a bassline, and slap vocals over it, but it takes someone with a real great set of visions to make a work of art that will be talked about for years. The Sexbots’ Ilima Considine is one of these minds, and “I Always Knew You Were A Bitch” is a one of a kind Album.

Vocally, she has the incredible ability to whisper with the power of seven tornados that have captured freight trains ‘Wizard of Oz’ style. Musically this album is a really interesting mix between hard hitting pop and mellow avant garde hip hop, and all dance party. The hooks are incredible, and lyrically really engaging, from the Sexbot bandcamp page:

Towards the end of 2017, The Sexbots’ Ilima Considine called her work as she walked out of the courthouse with a stalking order against a co-worker. The Sheriff’s Department was going to serve him during his shift the next day. Her workplace responded by cutting her schedule to 5 hours a week- virtually firing her, because, “You’re the one with the problem.” Ilima was so mad that she went home and wrote a rap album about losing all her fucks and becoming a cat lady. Recurring themes of violence, street harassment, choosing loneliness over sleeping with the enemy, and quietly watching one’s life disintegrate – The Sexbots’ seventh full-length album “I Always Knew You Were a Bitch” is titled after a common response to a sexually unavailable woman or one who protects other women.”

As someone who has the experience of being in art circles, music circles, or really any social scene, and being present and part of the quiet whispers & warnings between folks about dangerous men who do dangerous but “normalized” things to us, I felt a lot of things while listening to this album. It really hit home and reminded me of all those hushed conversations, all those times that I and others have tried but failed to hold someone accountable, and the times that I have entirely left music networks altogether. One would think that would make me feel bad, but instead these songs makes me feel really powerful, like screw it, I am doing my own things right now. I am not sure that is how everyone would react to it (everyone has their own reactions of trauma) but I loved this album.

Give a listen to “I Always Knew You Were A Bitch” today, buy it, and go see The Sexbots live at the CD release show on Feb 9th at Bit House Saloon!

Dakota Slim’s “Cactus Crown” is Incredible, Artistic, and Astral

I have read a lot of reviews about Dakota Slim’s most recent release, title “Cactus Crown”, which came out over this past summer. I have taken that summer and the proceeding fall to exist within its haze, letting it weave a tapestry of astral environments for me to meditate around, a map that corrects itself somewhere between it’s original intentions and my own perspectives and paradoxes. It is easy to see where many folks get visions that produce reactions to “Cactus Crown” like: “Spaghetti Western”, “Cinematic”, and “Psychedelic Folk”. But there are some other reactions that my body has when I consume it’s creation. It is intentional. It is painstakingly crafted and recrafted. Dakota Slim has placed so many intelligent incracisies into this great work that every listen has a different dimension to it. Beyond all that it sounds professional: every part of this album is exactly as it should be, finding its way somewhere at the perfect intersection between overdone and creatively interesting. At the bottom of those waves it finds its home as a wonderful piece of artistic integrity: of someone finding themselves and sticking to their guns, and becoming exactly who they want to be. A lifelong process, surely, but albums like these are very nice waysigns, guide posts, and rest stops which can help us along the way.

That last paragraph had 222 words in it, which I decided was a neat enough looking number to look up the Occult Meaning of. I don’t know this kind of information off hand, because my memory is awful, but I came up with a ton of awesome information: “Serpent’s Eye”, “Good Mountain”, and many more. I have not taken up the time to decide which one of these I like, but I get a good feeling like I am on the right track when I see or hear something that gives me a fuzzy feeling on the back of my neck, somewhere below the backside of my crown and just in between the bottom of my shoulder blades. I am not %100 sure of the rituals that lead to the creation of “Cactus Crown”, but I do know that when I listen to this album I receive that sort of “ASMR” feeling that lets me know I am somewhere on the right path. These Eight Songs come together, in my listening experience, as a sort of meditative and forward moving ghost opening up that which is closed. The rhythms are just the right cradle between odd and familiar, the vocals are a whispering secret that can be heard voiced both in sands and alleyways. Spirituality aside, there is a lot of ambiance and alchemy between genres in this record, combining what sounds like a mixture of electronic beats on some songs, sampled drums, sampled horns, sampled everything. As a creator myself, I can feel certain parts that build and jive on themselves, and I can visualized the sort of cheshire smile that might have appeared on the songwriters face before a nod that signifies a “yeah, I got it that time”. This album, despite being artsy as hell, transcends being too pretentious because it sounds like it was extremely exciting to make. When music is just plain FUN to create, you can hear it when the record eventually comes out.

So pick up this indie-acoustic-spaced out but rhythmically interesting album soon, and support Dakota Slim’s other projects: such as the Open Source Art Religion & Collective We The Hallowed and Podcast “Pragmagick”. He always has something interesting up his sleeve, and I for one, am always interested to see just how deep those magicians robes go!

A triple bill at Eastside Bar and Grill

The Dizzies are a self described alt rock band that came down from Olympia Washington to rock the Eastside Bar and Grill last week, on a great bill with creative bands. Playing a set of longer groovy songs with plenty of room to jam out, they toed a fantastic line between Blind Melon, Led Zeppelin and Mr Bungle. There wasn’t much room for applause because this band pretty much steamrolled through their whole set, song after song, maybe only taking a break once or twice to very earnestly thank the intimate crowd for watching them play during their tour. They started off a show of three piece bands, each taking on a different path on rock and roll. You can check them out HERE.

Link to video

Labido Cornucopia was up next, choosing to ditch the bass guitar in favor of two killer guitar players backed by a good, strong drummer. I might be dating myself here, but one of the first things I thought when I looked these folks up on the internet was that they reminded me of the band that both featured in the theme song and existed in the world of classic Nickelodeon show “Pete & Pete”. Now don’t get me wrong, that isn’t speaking to any immaturity of the band I was watching: despite Polaris being on a teen episodic adventure show, they were an amazing band in the 90’s. Labido Cornucopia got the energy of the crowd up with their unison shout-singing vocals, punk rhythms, and good humor. All three members were really great at their instruments, but what really got to me was all of the chances that the lead vocalist took with their vocals. Ranging from a punk shout to a theatrical falsetto and everything in between, you never knew quite what was coming next, and it was that tension and drama that really kept me engaged with the set. They were pretty mathy with their instrumentals, but not quite “noodly”, which was a breath of fresh air, like some love child between The Pixies and Coheed and Cambria. It was amazing to see a band just unabashedly be themselves! You can check out their music HERE.

Link to video

Last up in the night was The Carotids, which took another turn in instrumentation by having the lead vocalist sit behind the drumset. These folks just brought the pure, unfiltered and raw punk energy, with almost a bit of a hardcore metal edge thrown in for good measure. One thing that really tied all of these bands together was that they all seemed to have a really good time performing, nobody took themselves too seriously, and it made the show that much more enjoyable. The Carotids wrecked what was left of the Eastside Bar and Grill with their power chord driven rock and roll, and you can catch their music HERE.

Link to video