Flyer by Ben Higgins, click to RSVP!!!
Lemuria poster by Jillian Yoffe. So cute! Click to RSVP
CONFIRMED! 8.27
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CSR/UNREGISTERED NURSE and MONOZINE PRESENT:
TUESDAY AUGUST 27th @ OTTOBAR!
8pm 12 dollars
ZERO BOYS! (The greatest mid-west Punk band EVER!)
NIGHT BIRDS
GIVE
WARXGAMES
RAVAGERS
Free Pizza and prizes too!
Black Pus flyer by Ben Higgins, click to RSVP!!
CONFIRMED! 9.14
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CONFIRMED! 5.22 AT OTTOBAR
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SINKANE (Sudanese Afro-Funk guitar pop, mem Yeasayer/ Of Montreal/ Born Ruffians)
CLICK
+ TBA
Presented by Unregistered Nurse
9pm
$10adv./ $12 dos
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from Pitchfork;
Sinkane
Mars
7.0
“Biography can be overstated when evaluating an artist’s work, but Ahmed Gallab’s story is key to understanding his music. The Sudanese son of two college professors, he moved to the United States with his family at the age of five to escape the country’s fomenting political violence of the late 1980s. The family moved around a bit, and Gallab eventually settled in Columbus, Ohio, when he was 18, where he fell in with the city’s hardcore punk music community. He later found work as a session musician of some demand, drumming and serving as a multi-instrumentalist for Yeasayer, Caribou, Of Montreal, Born Ruffians, and Eleanor Friedberger. Eventually, as these things often go, he made his way to Brooklyn, where Sinkane started taking shape as his primary creative outlet.
Mars is Gallab’s second full-length as Sinkane, and it sounds like the work of a nomadic professors’ kid with equally strong ties to a DIY scene as well as his east African roots, whose creativity flourished on the road with indie vets and in the self-styled cosmopolitan home of 21st-century indie music. Mars is both refined and easygoing, if not a bit aloof at times. It works in multiple musical registers simultaneously and smartly— the syncopated rhythms and breezy guitar figures of Sudanese pop, krautrock, early-70s funk, free jazz, Fader-friendly global indie— while maintaining a clear authorial voice (largely coming from Gallab’s playing multiple instruments on each song).
There’s a loose concept at play on the record: Mars is Gallab’s metaphor for a musical space in which anyone can exist, regardless of background. Though the temptation to refer to the rich tradition of Afro-futurism arises when a guy born in Sudan references interstellar reaches, the connection to Sun Ra, Parliament, or André 3000 is tentative at best. The record’s politics are as abstract as the cover photo, and the album’s mood thermostat doesn’t move much from the “chill” position. There aren’t a whole lot of lyrical specifics, but an abundance of references to the red planet seems less meant to signify escape (as in the Reverend A.W. Nix’s pioneering “White Flyer to Heaven” sermon), or a sign of plain weirdness (as in Lil’ Wayne’s use): For Gallab, it’s more along the lines of a summertime rooftop party, where your affable host greets you without rising from his deck chair.
FULL REVIEW”
