Childish Gambino with a present day protest song
For its unexpected atrocity, German highbrow media jumped on it immediately. The crap dance is amazing. I read somewhere that according to the artist this should replace protest songs as we have come to know them from Bob Dylon.
What appears to me as more meaningful however, are perhaps one or two subsequent examples of future music. Countless bands are heading for new shores only to end up in Pitchfork’s experimental music bin. Much of what’s on Pitchfork gets tossed in such bin, even though Pitchfork doesn’t classify it as such. Those assumed in that bin fail to fashioned listening habits and to respond to their audiences needs. Not so ‚Khruangbin’ or ‚Men I trust’ with tracks that reintroduce early bird synthesizers from ‘Switch on Bach’ to go along with contemporary conventional stuff.
Khruangbin with present day future music
Music that’s easy to follow, the guitar plays simple single notes and guitar bass and drums resist virutosity for most parts. A guitar play I hear from no one else. It’s a guitar I have heard before on a sailing trip along the coast of former Yugoslavia. It’s what some local radio station played relentlessly. This was back in the Hippie days, on a shore leave we watched the popular band Gypsy Love’s concert.
Khruangbin music has something from Curtis Mayfield’s life recording from Paul Colby’s Bitter End in New York (1971), and some of Hendrix’ Band of Gipsys. Even my current reading of the self-portrait of Helene and Wolfgang Beltracchi may influence my judgement. At today’s Hellabrunn zoo visit, the hormones gathered around mothers in colourful hippie dresses.
Future music from Canada
and Donald Johnson Callum Marsh future music Khruangbin Laura Lee Mark Speer Men I Trust