Although our man Rahim Alhaj didn't pick up Grammy gold for Best Traditional World Music Album, all in all—and I never thought I'd say this—the Grammys were totally entertaining. Awkward and tedious at times, sure, but I challenge any massive award show to shake those fugly bedfellows. I really couldn't ask for more.
Once unhappily lumped into the genre of dance punk, Los Angeles, Calif., power-trio Liars can now only be described as ever-changing.
The appeal of Le Chat Lunatique’s live performances owes as much to its bandmates patter and seriocomic stage presence as it does to their music—and the music is damn good. They’ve managed to translate that appeal to their new studio CD, Demonic Lovely, without visual or verbal aids. The music and the commitment with which it is played, it turns out, are really what it’s all about, whether you’re on the dance floor or sinking into a sofa.
How long have you existed, and how did you come to be?
Experience noise in the a.m. at Speakerwaffle, possibly the most damage you can do to your ears and mouth simultaneously. Redbeard (AGL and Dameon Lee of Lowlights), William Fowler Collins, Gun Safe and Olvidese fry up together at The Stove (114 Morningside NE) on Sunday, Feb. 17, from 10 a.m. to 2 p.m. Bring $5 or breakfast to share. (LM)
On Afreecanos, jazz pianist/composer Omar Sosa’s first studio recording since 2004’s masterwork Mulatos, the musics of Africa and the New World again go swimming together in the sea of his imagination and artistry. Featuring 21 musicians on traditional African and modern instruments, Afreecanos is more orchestrated and more rhythm-centric than Mulatos (fragments of which appear fleetingly on every track in Sosa’s piano improvs) but it continues the same fabulously successful experiment. Though not as consistent as its predecessor, Afreecanos does offer several tracks that equal or surpass anything on Mulatos, including “Nene La Kanou,” “Ollú” and the elegiac “Why Anga?” (MM)