Gobbledygeek episode 132, “Bang & Twang (feat. Rench from Gangstagrass),” is available for listening or download right here, and on iTunes here.
Hip hop? Bluegrass? The two genres might not be as different as you think, which Paul and AJ learn this week by talkng to Gangstagrass mastermind Rench. Rench discusses his attempt to bridge the gap and of how the fusion came about. Along the way, there’s talk of Whedon, Axe Cop, and of course, Justified. Plus, AJ raves about Enlightened, Paul chats about the new comic Helheim, and there’s more (yes, really!) Americans talk.
Next: the boys are joined by Jason Tabrys of The BastardCast.
(Show notes for “Bang & Twang.”)
Hey, Mr. AJ is a new column in which I plan on writing some things about the new music I hear. They’ll be brief reviews, divided into sections: MAXIMUM GOBBLING for the masterpieces; GOBBLE IT for the merely great; WORTH GOBBLING for other good releases; GOBBLE? for those albums which aren’t really good or bad, just sort of okay; DO NOT GOBBLE for the shitty; and RUN, DON’T GOBBLE! for the awful. Got it? Now, don’t ask me again.
by Tame Impala
I’m a Beatlemaniac, so I see the Beatles everywhere. Bear with me. On their debut album Innerspeaker, Australian psych-rock band Tame Impala manage to do what the Olivia Tremor Control did on 1996’s masterful Music from the Unrealized Film Script, Dusk at Cubist Castle; without compromising their creativity or their own unique vision, they capture the spirit of the post-Sgt. Pepper, pre-Abbey Road Beatles. Specifically, both albums remind me of the more freewheeling psychedelic cuts on Yellow Submarine, like George Harrison’s “It’s All Too Much.” Indeed, lead singer Kevin Parker’s voice reminds me of Harrison’s in that soaring, nasally way, which also makes it at times resemble John Lennon’s. But as I said, this is no rip-off, and Tame Impala sound like their own band, embracing the hazier realms of psychedelia that the Fab Four rarely did. It’s misty, delightful music that lulls you into another world with its spiraling distorted guitars, insistent drums, and far out yet pleasingly retro production techniques. Innerspeaker hasn’t made its way to the States yet, but whenever you get the chance, take a listen. You’ll be glad you did.