Horsegirl, Dungen, and why the kids are all right

No. 1351: Horsegirl - Versions of Modern Performance

When I hear a band like Horsegirl, or for that matter Lifeguard or other young bands in the Chicago scene, I think, “Maybe the younger generations are alright.” Despite what every generation says about those that come after them. But Horsegirl, who formed as teenagers and released their debut album after two of them had started college and while one was finishing high school. And it’s awesome. I mean, I was in a band in high school and this is way better than anything we did. (Note: We were a hardcore band that was also kinda-sorta groove metal a la Helmet or Orange 9mm, and I have a lot of affection for what we did but I also don’t think the songs, in hindsight, were very good.)

Versions of Modern Performance is kinda noisy, kinda shoegazey, kinda post-punk, merging a lot of elements of Sonic Youth at their most melodic, like on the outstanding closer “Billy,” as well as Gang of Four-style rhythmic dynamics (“Anti-glory”) and prettier, dreamier abstractions (“Beautiful Song”). I first heard them when I was assigned to write about them in a “bands to watch” feature for Spin back when I was in full-time freelance mode, and I was sold from the get-go. 

About six months after this was released, I saw them open for Unwound (!!!) at Irving Plaza in New York. The show was awesome, despite there being kinda lousy sightlines at the venue. (It helps to be tall; I’d categorize myself as “medium height”). But Horsegirl killed it; it’s funny, my wife initially noted how adorable they were and then quickly transitioned into how great their set was. (Both are true!) Their follow-up record is also great, and a lot different, and I’ll write about that in a bit. But my initial point stands: Maybe the kids (they’re in their early twenties now, they’re adults!) are alright after all. Rating: 9.1

Listen: “Billy”

No. 1352: Dungen - Ta Det Lugnt

I don’t think it’s controversial in any way to say that Dungen kinda sorta predicted the psych-rock subculture that exploded in the 21st century. Back in 2004 when they released Ta Det Lugnt, Austin Psych Fest was still a few years from getting off the ground and much longer still from being rebranded as LEVITATION, and for that matter, Mexican Summer was still Kemado. (Side note: The label is named after a Marissa Nadler song—and then they dropped her. Kinda fucked!) There were groups like Comets on Fire, who I adore, doing wild and noisy stuff, and you had bands like Oneida who were certainly tapping into krautrock and heavy psych, but they felt more niche or fringe. And then all these bands started showing up with fringe leather jackets and big hats and it became a lifestyle brand. Also Khruangbin. Can’t forget about Khruangbin.

But Dungen were doing something that seemed a lot more novel at the time simply because psych-rock just wasn’t in vogue. Also, they were really good at it (and still are, they’re still putting out groovy records). This was one of those records that became sort of indie-famous after a good Pitchfork review, but I might be overstating the matter. It’s no exaggeration to say that helped to break them stateside, back when that was a more common and even possible thing. Anyway, they got this one right: wild and progressive psych-rock that’s somewhere between Hendrix and Olivia Tremor Control, big riffs, dreamy jazz-fusion passages, you can imagine them on a video-taped soundstage with lava lamp effects in 1970. I actually remember seeing the video for “Panda” on 120 Minutes and while that doesn’t exactly describe it, it’s in the ballpark at least.

I haven’t kept up with Dungen quite as much, but they’re still making good records. Though none of them impressed me quite as much as this one. That being said, maybe it’s time for a revisit? Rating: 9.2

Listen: “Panda”

No. 1353: Rico - Man From Wareika

In my ongoing quest to snatch up as many of the most interesting reggae records that I can, I discovered this gem, which holds a unique distinction: It’s the only reggae album that Blue Note Records ever released. However, it’s fairly easy to understand how that came to be. This is an instrumental record, driven heavily by brass—particularly Rico Rodriguez’s trombone—which makes it somewhat closer to a proper jazz record than, say, a Bob Marley album. Is it a jazz album? Albeit one with riddims? Well, that’s a matter of interpretation I suppose, but I would say it’s maybe 80 percent reggae and 20 percent jazz. Which is a good enough ratio that it sounds virtually unlike any other reggae (or jazz!) record in my collection. Bottom line: It’s dope. Well worth seeking out, if you’re into reggae, or jazz, or both! Rating: 9.2

Listen: “This Day”

No. 1354: Augustus Pablo - East of the River Nile

And here’s another interesting reggae record! A while back I wrote about King Tubby Meets Rockers Uptown, a set of Augustus Pablo/Tubby dubs that I’d say is an essential for any reggae listener period. My friend Steve called the title track one of his favorite songs of all time, and increasingly I’m right there with him. This is totally different. Since it’s not a dub record, it’s not stepped in Tubby’s spacey studio effects. And frankly, a lot of it is more like a Jamaican funk record than roots reggae. It grooves hard, particularly in songs like the title track and “Africa (1983)”, neither of which resembles conventional roots reggae in any shape. There is some of that here, but it’s all instrumental and more about groove and mood setting than lyrical content, since there isn’t any. The fusion of reggae and funk pretty much always works for me, so whenever I hear it done particularly well, I take notice, and this is an album where it’s done spectacularly. Rating: 9.3

Listen: “East of the River Nile”

No. 1355: Weird Nightmare - s/t

Kind of a fun one that I think got a little lost in the shuffle when it was released. Alex Edkins of Metz, another band I quite enjoy, released his debut as Weird Nightmare in 2022, and it’s a highly enjoyable rock record. Nothing particularly outside-the-box, just lots of fuzzy garage rock and power pop, more Hot Snakes than Jehu, more Fastbacks than Nirvana. They’re all pretty simple three chord songs, great summertime, hook-laden rock ‘n’ roll, and there’s a lot to like. It’s breezier and poppier than Edkins’ other band, which is on extended hiatus right now (sad face) but still has the immediacy and energy of that band without as much noise and aggression. Hard to go wrong.

Curious point of fact: Weird Nightmare is also the title of a Hal Willner produced and curated compilation paying tribute to Charles Mingus that featured Henry Rollins, Robbie Robertson, Elvis Costello, Chuck D, members of the Rolling Stones, Dr. John and a bunch of other great musicians. Any connection or inspiration? No idea, just wanted to point that out. Rating: 8.9

Listen: “Sunday Driver”

No. 1356: Vis-A-Vis - Obi Agye Mi Dofo

I’ll confess that I don’t actually know that much about Vis-a-Vis. They’re an Afro-funk band from Ghana that kind of rests comfortably between the lengthy Afrobeat workouts of Fela Kuti and more upbeat, melodic highlife material, which isn’t that uncommon for a lot of West African groups from Ghana, Nigeria or Benin in the mid to late ‘70s. I have a few records that fit this description and I’ll almost certainly have more. Works on me every time. I’m pretty sure I heard this on a reissue roundup on Bandcamp Daily, which they stopped doing last year (doh!) and where I frequently discovered all kinds of gold. Kind of a bummer, that. But no matter—where there’s a will to find obscure global grooves, there’s a way. In any case, highly recommended if you like Fela Kuti, Ebo Taylor and artists like that. Rating: 9.0

Listen: “Kankyema”

No. 1357: The Smile - A Light for Attracting Attention

In my last roundup, I wrote about a Radiohead record, so that must have just been the space I was in at the time. Though it’s not like that takes a lot of effort on my part. I’ve been listening to them for 30 years at this point, and I know the catalog front and back. For the most part; I don’t really listen to Pablo Honey or King of Limbs. But regardless, the rest of it is pretty much all great.

I won’t bore you with too many details but for those who somehow missed the memo, but The Smile is Thom Yorke and Jonny Greenwood with drummer Tom Skinner, who typically does jazz stuff and was a member of Sons of Kemet, who I regret never seeing live. But as a trio The Smile do more stripped down but still rhythmically elaborate and groovy stuff. This is their debut and it’s more all over the place than the next two records, a blend of dreamy ballads and dirges with noisier rock songs and some jazz/Afrobeat inspired stuff like “The Smoke.” It’s pretty dope and they played a lot of it at The National in Richmond in 2023, which I was surprised they even added to their itinerary. But hey, I’ll take a win where I can get it. Rating: 9.2

Listen: “The Smoke”