In this episode I speak with my good friend Brendan Kirby, owner and operator of Seed Sprout Spoon and The Leona Ballroom in St. Louis, Missouri. We discuss the events, hospitality and service industries in the new economic landscape, and also hopefully reveal a little bit of ourselves in this great conversation.
St. Louis post-punk/no-wave rockers Buttercup celebrate the release of their new album, I Can’t Believe It’s Not Buttercup, tonight (12.14.2019) at The Heavy Anchor at 9 p.m. In this episode of the General Concerns podcast I speak with guitarist Matt Derouin about the new release.
In many ways Buttercup’s music calls to mind the noisy, angular, mathy post-punk and noise rock of Chicago during the late 80s and early 90s. Bands like Mount Shasta, Shellac, and The Jesus Lizard combined rock and punk music in a jar, then shook vigorously until an edgy, unhinged consistency was reached.
It’s probably fair to connect the Buttercup sound to those cherished frequencies of yore. The swagger and bounce of the new LP’s opening track, “Happy Animals Taste Better,” sets the tone for the collection, running the band through its paces in a cocksure overture.
Vocalist Andrew Patania seals his status as a formidable vocal technician, modulating between floating melody and raging angst. Voice casting agents take heed: Patania is the voice of a dyspeptic cartoon bear, stomping, shouting and singing through an addled life in an oversaturated realm.
We’ll have a listen to that song during the episode.
The show begins at 9 p.m., and you can get the details on Facebook. Here’s how to find The Heavy Anchor:
You haven’t loved until you’ve loved a dog, and I sure love my Syren. I haven’t seen much of her since breaking up with the girlfriend she’s attached to, but
There’s still a vocal version of this on the way, but you can immediately have and hold an MP3 of the instrumental version by logging in below the video. If you can’t log in, then you need a membership.
The footage I’ve curated is from the 1976 film, “Joy Ride: An Auto Theft”. It’s a cautionary tale of youth gone wild in the California hills.
I don’t always write pretty songs for piano and voice, but when I do, I like to let you in on the process.