Before we get to 2024, Scene writers have eight more recommendations for releases by local artists from 2023, including Brian Brown, Ashley McBryde, Bill Lloyd and a whole heap of heshers on a Weedian compilation
In our live-review column, Saturday’s show with Fetching Pails and Eardrummer makes a case for the vitality and diversity of Music City rock and electronic music
âThe birth of Krautrock came after Nazi Germany, when there was no culture left in the country, and musicians were like, âWhere do we go from here? What sounds do we make?â It was the sound of a new beginning for those people.â
This quotation isnât from a music history book â itâs from a conversation I had last fall with Nashvilleâs own synthesizer great Eve Maret. The 26-year-old artist was espousing the progressive psychedelic movement stewarded by timeless Teutonic bands of the â60s and â70s like Neu!, Can and Kraftwerk. Though she wasnât necessarily forecasting the giant question mark that is our post-pandemic musical landscape, the discussion feels relevant. Krautrock healed listeners, and Maretâs music has similar aims.
My Wall Brings Meditative Doom, Eve Maret Makes Improv Excursions Streams from the sludgy three-piece and the electronic soloist were highlights of the weekend Tweet
Scene s Q&A with Nashville trio
My Wall last week, the group broke down some of the influences behind its ultra-intense new 12-inch “The Event” backed with “Abuse.” Recorded by drummer
Carlos Ortiz, mixed by Yautja s Shibby Poole and mastered by Mikey Allred at the venerable Dark Arts, the two-song release is a heady hybrid of drone, grunge, hardcore punk and doom metal styles. The group brought the new material to life in a set streamed from