Thursday, December 1, 2011
Listen up: Cymbals Eat Guitars at Big Car
Posted by Katherine Coplen on Thu, Dec 1, 2011 at 7:00 AM
Cymbals Eat Guitars - Shore Points from LaundroMatinee on Vimeo.
Cymbals Eat Guitars were in Indy in late October at White Rabbit Cabaret (our reviewer, Grant Catton, gave the performance 4 1/2 stars). Before their show, they stopped into Big Car Gallery to perform a stripped-down set for Laundro Matinee
The band, currently touring sophomore effort Lenses Alien, is doing exciting things. Their lyrically complex, guitar-heavy rock is compelling and constantly evolving. You won't want to miss this video.
Wednesday, November 30, 2011
Roots Ladies' Night: Writers Round at Locals Only
Posted by Grant Catton on Wed, Nov 30, 2011 at 10:00 AM
On Saturday, singer-songwriters Kim Taylor, Kate Lamont, Cara Jean Wahlers, and Bobbie Lancaster will participate in a Nashville-style songwriters round at Locals Only. The show represents the first time Cincinatti musician Kim Taylor has performed as a solo artist in Indy and it could possibly be the last time Indy native Kate Lamont will perform in Indy for a long while, as she’s in the process of relocating to San Francisco.
If you haven’t heard of Kim Taylor, odds are you’ve heard her soulful, country- and folk-inspired tunes on T.V. shows like “Justified,” “Flashpoint,” “Smallville,” “Army Wives,” “One Tree Hill” and others. And if you listen to pop or country music, you’ve probably already heard songs that she’s co-written; she’s collaborated with songwriters who write for artists like Lee Anne Womack and Miley Cyrus and she’s soon heading to Epic Records to showcase some of her latest work.
The recent ascension of producer L.A. Reid to the CEO position at Epic has opened up songwriting opportunities for Taylor. One of Epic’s A&R’s with whom she’s been friends for years has a close relationship with Reid, a music business connection which could potentially result in Taylor writing full-time for some of Epic’s artists.
“That’s a whole world I’ve been trying to nudge my way into for a while,” said Taylor. “I’ve been making my own way with my songs for a couple of years, but I get really excited working with other artists; that’s kind of my goal.”
Taylor and Lamont met in 2010 through Over the Rhine drummer Devin Ashley when Taylor was touring with the band. Since then, Lamont has been working as one of Taylor’s back-up singers. Though their individual musical styles are pretty differentµTaylor plays folk- and country-inspired pop, Lamont is more R&B-influencedµboth artists agree their voices are complimentary.
“Our voices blend really well together,” said Taylor in an interview last week. “There are tonal similarities, and I tend to be a pretty husky singer, while she has a more crystal-clear, pitch-perfect voice.”
The two haven’t co-written anything as yet, though Taylor says they’ve discussed the idea.
“It’ll be a little harder now that she’s moving to San Francisco,” joked Taylor.
Lamont has played in a number of different bands since 1999 including Fuzz, which she founded with Devin Ashley, Mab Lab and Blueprint Music, before releasing her first solo album After the Traffic in 2010. After releasing her latest EP Quality at the Broad Ripple Music Fest, she says she still has a full album’s length worth of material that she’s written with Ashley. She's currently in the process of recording, as she moves out to the West Coast.
Having worked and played music in the Indianapolis area for most of her adult life, Lamont is hoping the move to San Francisco will enable her to gain access to the film industry, where she hopes to write music on commission for film and T.V. She says the move was prompted in part by her friendship with Taylor.
“Kim Taylor is thriving in [the film and TV] world right now,” said Lamont. “She’s kind of my inspiration.”
Also at the songwriters round will be Indy’s own Cara Jean Wahlers and Bloomington-based Bobbie Lancaster. Wahlers’ debut album, Goodnight Charlotte (2010), which she recorded with cellist Grover Parido, was voted Best Local Roots Album this year by NUVO and has gained national attention from press outlets like NYC’s Village Voice. She and Parido also wrote the score for the award-winning 2010 independent filmĀ Paradise Recovered, which was filmed in Southern Indiana.
“Kate and Bobbie and I have been performing in close proximity to each other for years, and have shared bills several times, but we've not been on stage together, the three of us, really ever,” said Wahlers. “I'm really excited to welcome Kim Taylor to town, too. She's got a great voice and great songs, and it's a lot of fun sitting in a line with other writers, trading songs and sharing stories.”
Lancaster has released two solo albums and two children’s albums. Her most recent release, Live, came out this year. A regular on the local circuit, she’s recently appeared in Tim Grimm’s Hoosier Dylan, Springsteen, Hank & Johnny Tribute shows, as well as the John Prine tribute show, Pure Prine. She’s also currently at work on an album with the Millbranch Theory and a series of children’s books.
“I really respect Bobbie's music and energy. She's an absolute joy to be around and to share the stage with,” said Wahlers, of Lancaster.
With such a stellar line-up, the night promises to be the best showcase of female singer-songwriters to come to Indianapolis a long while.
“We’re really honored to have Kim playing at Locals Only,” said Lamont. “Cara Jean and Bobbie are both quality songwriters. That’s why we’re doing this Songwriters in the Round; because we’re not just singers, but [also] songwriters.”
Lamont said she and the other ladies will be playing stripped-down sets; she with her beloved Fender-Rhodes piano and the others with their guitars.
“Kim will probably play my piano as well,” she adds, with a hopeful tone.
Rock Interview: The War on Drugs
Posted by Wade Coggeshall on Wed, Nov 30, 2011 at 8:45 AM
Tuesday, Dec. 6 at Radio Radio
The War On Drugs is working to change the negative connotation associated with the name of an interminable and failed policy by the federal government.
The Philly-based band is doing so through a mix of illusory sonics and loud, bedraggled guitar that somehow manages to sound both timeless and fresh. But singer/songwriter/guitarist Adam Granduciel admits getting there can be a struggle.
“It’s not like (the songs) come quickly and have a clear vision from the start,” he said during a recent phone interview. “I let them evolve over time.”
The process for Slave Ambient, The War on Drugs’ second full-length, was “legendarily chaotic.” Granduciel didn’t think the songs were done when others did.
“I kept trying to move in a particular direction, kept waiting on the songs to feel special to me,” he says. “I was searching for a sound, but for each song to have its own identity too.”
Granduciel isn’t a tyrannical perfectionist either. He knew Slave Ambient, released on Bloomington’s Secretly Canadian, would have layers and samples —reaching grandiose heights at times. Even though he admits to obsessing in the creative process, Granduciel still believes he knows when a song is done.
“I know when I get to a place where I’m happy with everything,” he said. “Sometimes you can only work on something so much.”
The War on Drugs - Come to the City by yvynyl
It’s been enough to elicit comparisons of the quartet to luminaries as disparate as Bruce Springsteen and My Bloody Valentine, and of course Dylan. The latter one is just fine with Granduciel. He was a Dylan acolyte when he moved to Philadelphia from Oakland in the early 2000s and started The War On Drugs with Kurt Vile. He’s also quick to note such comparisons are more likely because of the musical style, its delivery and its verbosity, rather than any overall greatness.
“I don’t think there’s any real comparison there, but I’d like think I singĀ with a certain level of conviction too,” Granduciel said.
After two albums (beginning with 2008’s Wagonwheel Blues) and a few EPs, The War on Drugs started developing enough of a live reputation that fans started telling Granduciel he sounded different on stage than in recordings. Initially he was offended; he later decided against being so.
“As you grow as a writer and performer, you start to approach all your musicĀ like it’s new and fresh instead of just going through the motions. That’s something I’ve learned from watching Dylan’s career. He’s always reinterpreting stuff as he grows as an artist. That’s where I’d like to be.”
Granduciel remains the only original member in the group. Vile left after Wagonwheel Blues to start a solo career; both are still friends. Other wholesale personnel changes didn’t adversely affect the creation of Slave Ambient, Granduciel says, because The War On Drugs has never operated as a proper band outside of touring.
“If anything, that’s given me the ability to do whatever I want to do,” he said, adding that this is the first year the lineup has ever been constant. “We’ve toured a lot since March with the same four people. It’ll be exciting in the future to see how that dynamic changes the next record — everyone working on it together.”
Granduciel also takes credit (or blame) for the group’s moniker, something he suggested before there were any expectations of success. He’s heard numerous complaints that their name can’t be typed into a search engine without pulling up an overkill of government propaganda, though that’s solved by adding the word “band” (“You just have to think harder for one second”).
“Sometimes people will ask if I’m for or against [drugs],” Granduciel says. “I’m hoping the moreĀ they hear us, the less they’ll think of the term’s origins.”
Tuesday, November 29, 2011
Rock / DJ & Dance Gentlemen Hall bring electropop to Jingle Jam
Posted by Rob Nichols on Tue, Nov 29, 2011 at 9:00 AM
The band comes back to Indianapolis for the WZPL Jingle Jam with Matt Nathenson and Christina Perri on December 3 at the Egyptian Room, is touring behind their new record When We All Disappear, and effectively mixing retro grooves with pop radio friendly production. Sort of like OK Go, without all the stunt videos.
Meeting at the Berklee College of Music in Boston, the gang of synth-pop rockers has crafted tunes that recall the '80s - maybe a little Controversy-era Prince-and thump with an electronic backbeat that melds club-happy bottom end with a familiar grooves. Nuevo Duran Duran? Cars for the newbies? Some hidden Hall and Oates influence from their last big record (Big Bam Boom)? All of that.
NUVO wanted to know more about the band, so I talked with singer/guitarist Gavin McDevitt, who had flute player Seth Hachen (from Indiana, by the way) at his side, helping with the answers.
NUVO: There’s distinct '80s flavor to what you do. Talk about where your sound comes from.
Gavin: We were never as big into the '80s musically as we are into the '80s as far as gear and instrumentation. A lot of our sound comes from a vintage analog synthesizer called the Juno 106 which was most prevalent in the 80s. But we try to keep as modern of an approach as possible!
NUVO: Any influences from your city that you hear in your music. I hear the Cars…
G: We are a Boston band with deep roots in the Midwest. We believe all the great music being made in Boston creates strong vibrations and energy that go directly into our music. The current Boston music scene is amazing. We feel like this scene is something similar to the Seattle grunge scene in the '90s. Bands are very supportive of each other, but are writing very unique music that is very now.
NUVO: What has been the track of your career? Openers? Clubs? Writing more than playing? What has worked for you?
G: We definitely weigh all as equal. As many irons in the fire as possible, man! Although we do really believe a band will be remembered 100 years from now for one thing... The song. We write a lot. LOT.
NUVO: You’ve played with some long-active bands and at some larger venues. Any moments that have seemed like a nice turning point for your progress?
G: It seems like in today's day and age, it's simply all about making real fans one at a time. The momentum has been building but there has been no "break," if that makes sense. A lot of exposure may have given you a big record deal in the past, but today we just try to make fans and not be forgotten.
NUVO: Ever been to Indianapolis?
G: Indianapolis is one of our fondest memories as a band. We opened for Muse at the Verizon Center. This was probably the most fans we've made at one show. Sold out of CDs and T's. And Muse put on one of the best shows we've seen in a long time.
NUVO: Anyone in the band have Midwest roots?
G: We wear our [Midwestern influence] with pride. Two of us are from Cleveland, one from Minneapolis, one (Seth) is a South Bender, not too far from you.
NUVO: Anything I missed that you want to add? Shameless plugs or smart-ass remarks?
G: Big shout out to Boston's beloved model @LoVeSeXnGIA. She is a taste maker in the city and we are lucky to be shooting our music video for the single "Gravity Will Break Our Bones" with her in a key role.
Monday, November 28, 2011
Rock Mustache Bash at The Melody Inn
Posted by Grant Catton on Mon, Nov 28, 2011 at 3:30 PM
Wednesday, Nov. 23
The Melody Inn
'Twas the night before Thanksgiving—always a classic party night—when I found myself at the Melody Inn holding a PBR tallboy and watching a man in an old English constable’s costume accost (really attack) mustache-less members of the elbow-to-elbow crowd and shame them into putting on one of the free fake mustaches available at the door. I was spared the constable’s wrath because of my borderline-acceptable three-day beard and some deft maneuvering. Others weren’t so lucky...(Editor's note: Me included! Attack is definitely the right word here.)
A mustache—real or fake—was apparently the only requirement of attendance at the third annual Mustache Bash, unless you count the $10 admission fee. Many patrons sported real mustaches or very creative fake ones. The event’s hosts even gave out awards for each category at the end of the night, though one suspects the judging standards were a little bit loose.
Undoubtedly one of the best mustaches belonged to Household Guns frontman and lead guitarist Shawn Woolfolk. Household Guns was the last band to play on Wednesday night, given the difficult task of following long-time Indy favorite Pravada. By that time, it was nearly 1:30 a.m., and though the Melody was starting to clear out, Household Guns turned in a killer performance.
Woolfolk’s grungy, distorted guitar sound almost acts to mask his technical skill, but not quite; he drives the songs with his high-on-the-neck articulated chords and solos, while delivering an almost eerie falsetto on songs like “So Far.” The raw power and technical skill of drummer Dave Hall’s work cannot be overstated, either. His fills are plentiful and perfectly timed and he delivers them with the same energy exuded by the whole band, at times seeming to launch himself out over the drum kit to attack the cymbals. Even with bassist Ben Masbaum adding vocals as well I feel like these guys would benefit from having rhythm guitar to fill-in behind Woolfolk's lead.
Opening up the night were Indy-based surf-rockers Vacation Club, who might well be the most prolific live band in the city right now; I can’t seem to go to a show anywhere in Indy without seeing them somewhere on the bill. But I’m not complaining. Their fun, guitar-heavy, irreverent style seems to get tighter and tighter each time I see them and their stage antics are always fun to watch, though it seemed they had to rein things in on Wednesday night. They closed with one of their classics “Left My Mind on the Table,” and clearly left the audience wanting more.
The night took a decidedly bizarre turn when Rochester, N.Y.-based Pocket Vinyl took the stage. PV are a husband and wife duo consisting of Eric Stevenson and Elizabeth Jancewicz on keyboard and paintbrush, respectively. Yes, that’s right: paintbrush. Jancewicz created an original oil painting while Stevenson pounded out his dramatic, sometimes angry solo compositions on the keys such as “Saloon Song.” Indeed, his songs had a little bit of an Old West barroom kind of rollick to them; however, were Stevenson actually performing in the Old West his throaty, accusatory singing style might very well have gotten him shot by some trigger-happy cowboy. Luckily, no one was packing (I assume) at the Melody and the crowd waited patiently—albeit with some raised eyebrows—while he sang and his wife finished her painting. It seemed kind of an odd counterpoint to the otherwise straight-up rock roster and I have to give them credit for pushing creative boundaries even if it wasn’t exactly my thing.
Chicago-based folk-rock band Damn Choir set up next, playing for their first time in Indy. These days, when you see a group of bearded guys in flannels setting up acoustic instruments alongside a gal on the cello you can kind of guess what they’re going for: an upbeat, Mumford & Sons-ish, well-instrumented Americana kind of thing. And that’s pretty much what they play except they seemed to have little bit of a darker edge than a lot of bands of that ilk. The song “Sweet Virginia” seemed a pretty good expression of their work; they play strong chords all together on the quarter note beats and let the songs unravel into jams. The electric bass and guitar built a nice foundation for the music and they were even able to convincingly rock-out on the Animal’s “Please Don’t Let Me Be Misunderstood.”
The night seemed to come to a crescendo when hometown favorites Pravada took the stage. The attention of the entire packed Melody crowd seemed to shift stageward as lead singer Jesse Lee stood tuning his guitar, a cigarette hanging lithely from his be-mustached lips. Playing power pop with a punk edge, Pravada were clearly the act most patrons had been waiting for as many stood up close to the stage singing and jumping along with the band’s quick, stabbing chords. Unfortunately, Lee’s voice wasn’t coming through as well as it could have. Songs like their classic “Whoa Whoa” (I think that's the name) whipped the crowd into a near frenzy with it’s simple, catchy refrain.
Review: Slater Hogan's & John Larner's latest
Posted by Kyle Long on Mon, Nov 28, 2011 at 3:10 PM
Slater Hogan & John Larner
Bite Sized Beats Vol. 5
Flapjack Records
Slater Hogan and John Larner are best known around Indy for their work behind the turntables, but the pair have earned a large international audience for their house music productions, which routinely pop up on the playlists of the genre's best DJs.
The duo's latest work arrives packaged in the form of a 7" vinyl single; it's part of Chicago label Flapjack Records' Bite Sized Beats series. The disc features a couple of R&B classics from different eras (disco and new jack swing), reworked into uptempo house music burners.
First up is "Freakin Deep", a take on Jodeci's slow jam staple "Freek'n You." Hogan & Larner jack up the tempo while crafting a sophisticated jazzy backdrop for the vocals. I was never a big fan of the slickly produced Jodeci original, but Hogan & Larner's funked up version breathes new life into the 1995 R&B hit.
Side B features "Sexy Lady," a dubby, amped-up spin on Johnnie Taylor's 1976 smash hit "Disco Lady". With a few minor tweaks, Hogan & Larner flip this mid-tempo groover into a powerful dance-floor weapon. "Sexy Lady" is soulful house music at its finest.
A few copies of this limited edition 7" pressing are now available at LUNA Music.
Rock Stationary Odyssey split 7" with Pixies project
Posted by Grant Catton on Mon, Nov 28, 2011 at 1:00 PM
Evansville, Ind.-based Stationary Odyssey—who have released two albums with Indy’s Joyful Noise Records—and a Pixies side project known as The Everybody are planning to release a split 7” but only if they can raise $2,275 by 10:00am Friday, Dec. 2. According to the project’s Kickstarter.com page, they’ve got $941 raised so far and the clock is ticking. The record will feature The Everybody’s song “Marooned” on Side A, and Side B will feature Stationary Odyssey’s trippy re-interpretation of the track, titled “Demon Oar” which, incidentally, is an anagram of “Marooned.”
Composed of Joey Santiago and David Lovering of the Pixies, in conjunction with producer Eddie Kramer, The Everybody are an instrumental rock project who released an album in 2009 called Avatar. Stationary Odyssey are an experimental, alt-rock band formed by Aaron Tanner and Brett Siler, and who’ve released two of their 11 releases through Joyful Noise.
If the project gets enough money to move forward, the Marooned/Demon Oar release will be done on a run of 300 white vinyl 7” records and packaged in a limited edition wooden case with screen printed art by Ryan Grisham of fellow Hoosier indie band Mock Orange. Apparently, a pledge of as little as $10 earns the pledge-ee a copy of the release and a digital download card. For more information or to place an order, visit the project’s page at http://kck.st/txB6na.
Slideshow: Kid Rock
Posted by Lora Olive on Mon, Nov 28, 2011 at 8:30 AM
Slideshow
Wednesday, November 23, 2011
Punk & Metal Staying up with Late Nite Reading
Posted by Nick Selm on Wed, Nov 23, 2011 at 8:00 AM
Last Friday night, I found myself fumbling around the social networking website Stickam. After a face-to-face interview with local pop-punk saplings Late Nite Reading fell through, I agreed to interview them during their nightly broadcast on Stickam.
However, when I logged on to the site, I realized that I had no idea what was going on. I have always kept up with pop culture, albeit, mostly from a distance, and I felt secure in knowing what was up in the world. My Stickcam experience, however, made me feel like Rip Van Winkel, waking up behind the times.
As my confusion turned to frustration, I broke down and called Late Nite Reading bassist Brady Szuhaj for assistance. Szuhaj laughed sympathetically when I admitted how lost I was on the Stickam website. After guiding me through the registration process, Szuhaj welcomed me to the band’s popular video broadcast where my face stood out amongst scores of 16-year-old girls.
With my technical issues resolved, Szuhaj and Late Nite Reading frontman Dolton Wixom opened up to my questions in front of their 900 Internet followers that night.
“This is actually a slow night for us,” said Szuhaj. “We do this show every weeknight and we usually have around 2000 people tuning in.”
To have 2000 people hanging on your every word is pretty impressive for any local band, not to mention a high school band. All members of Late Nite Reading are between the ages of 16 and 18. Only drummer Drew Cottrell and guitarist Mitch Volpe are currently attending traditional high schools.
Late Nite Reading formed in 2009 and began developing their devout following early on. Bypassing traditional DIY avenues, Late Nite Reading incubated their fan base by blitzing the Internet.
“We are all about social media,” explained Szuhaj. “Facebook, Twitter, Youtube, Tumblr, Stickam: we use it all. They’re all cool ways to connect with fans.”
“Because of all the social networking,” said Wixom, “our national fan base actually predates our local fan base.”
Despite having a larger national following, Late Nite Reading have made sure not to neglect the local scene.
“We’ve played all the local haunts,” said Wixom. “E.S. Jungle, The Emerson, Earth House and the Dojo: you name it, we’ve played it.”
The band’s sound is radio-ready pop-punk; it has attracted the attention of big, national acts and promoters.
“We’ve played all over the Midwest supporting big bands,” said Szuhaj, “We’ve played with bands like All Time Low, Never Shout Never, Yellowcard and Forever The Sickest Kids.”
This past summer, the band embarked on their first tour.
“It was a lot of fun. We toured down to Texas and back with our friends from Score 24 from Long Island,” said Suzhaj.
While their pre-existing following certainly made their first official outing a bit easier, the tour wasn’t without educational experiences.
“We were playing sold out shows in smaller clubs with maybe 200-300 people” reminisced Suzhaj, “but it was easy because we just kind of followed Score 24’s lead. They really showed us the ropes of touring.”
At a gig in Austin, Texas, the band received some scary news.
“We were playing at Six Flags, Austin” said Wixom, “we got there early and were hitting up the rides and chilling with fans, waiting for Score 24 to show up. All of a sudden, we got a call from Score 24 saying that their van had broken down and that they were dropping off of the tour. We were really nervous. They had always been there to show us what was up, but now we were on our own.”
Luckily for the band, the rest of the tour went off without a hitch without their mentors.
“We were able to deal with everything on our own.” said Szuhaj, beaming. “Even though it was a bummer that Score 24 had to drop off, we still had a great tour without them.”
After returning from the tour, LNR geared up to release their second EP, Dedicated to Deadlines.
“Our first EP was really raw and doesn’t really represent our current sound,” said Szuhaj. “We’re really proud of Deadlines. It’s gotten us a lot of hype.”
The four-track Deadlines incorporates new-school pop-punk and electro-pop elements with incredibly slick production. The band isn’t afraid to wear their influences on their sleeves.
“Of course, we like Blink 182 and the older punk sound but we listen to a lot of All Time Low and Forever The Sickest Kids,” admitted Szuhaj.
“I'm really into electronic music and Brady’s into more hardcore stuff,” added Wixom.
“I guess you could say that Dolton is pop and I’m punk,” said Szuhaj.
With Deadlinesonly available online, the band is more or less self-sufficient.
“We do so much on our own,” explained Szuhaj. “We really don’t need a label at this point but that doesn’t mean we wouldn’t welcome a label deal. We have a lot to juggle right now. [A label like] Hopeless Records would be ideal [but] while we have a big following, we just don’t have the sales to really attract any serious attention.”
Until spring break (when they can tour again), the band is taking it easy.
“We’ll play locally or play a weekend show every now and then,” said Szuhaj. “But, our main objective is just to try to move units and not lose momentum.”
Ethiopian music shopping on the west side
Posted by Kyle Long on Wed, Nov 23, 2011 at 7:30 AM
- Artur Silva
- Abyssinia restaurant and market.
I spent the better part of my adolescent years at the public library. While my friends were occupied with video games and school activities, I was busy ransacking the library's music collection. I would grab anything that looked interesting and I wouldn't leave until my bag was overflowing with CDs, LPs and cassettes. This is how I first encountered Ethiopian music.
Flipping through the cassette section one day, the cover of a Mahmoud Ahmed tape caught my eye. Curious, I stuck the tape in my bag and proceeded to checkout. I'm not sure what I expected Ethiopian music to sound like, but I certainly wasn't prepared for the sensuous, soulful and psychedelic grooves that emanated from my boombox after hitting play.
Swirling organs, throbbing bass and jazzy horn arrangements provided the backdrop for Ahmed's passionate and mysterious voice. The melodies were dark and restless, and the sound Ahmed and his band created seemed to encompass everything I loved about music. There were bits of funk, jazz and psychedelic rock, all filtered through the unique Ethiopian musical scale, which sounded very exotic and intriguing to me as a teenager stuck in the suburbs of Indianapolis.
- Artur Silva
- Ethiopian music CDs at Abyssinia
I was instantly hooked and I immediately set out to find more. After quickly exhausting the library's collection of Ethiopian music, I ventured out to the west side, exploring the shops and eateries of Indianapolis' growing East African community.
Fortunately, nearly every grocery store and restaurant I visited had a small collection of music for sale and in the shops that didn't sell music, the workers were eager to assist me in my search. I remember visiting a now-closed Somali restaurant near Lafayette Square. After informing me they had no music for sale, the waiter quickly rushed into the kitchen to collect a few tapes from his personal collection, which he generously gave me.
The amount and location of East African retailers constantly fluctuates, but there are a couple locations that have had a consistent presence in the scene: Abyssinia restaurant on West 38th Street and Hana Market on West Washington Street.
Listen to a mini-mix of Ethiopian and Eritrean music I made using CDs I purchased at Abyssinia and Hana Market:
Ethio Soul - A mini-mix of funky Eritrean & Ethiopian soul - DJ Kyle Long by CulturaCanibal
- Artur Silva
- Abyssinia Market
Abyssinia is best known as the city's longest-running Ethiopian restaurant, but the owners operate a small grocery in the adjacent shop. You can always find an excellent variety of Ethiopian CDs here. If you're interested in checking out contemporary Ethiopian sounds, I recommend any volume of the Nahom Favorite series, which chronicles the more traditional side of Ethio-pop; if you're looking for classic sounds, you can't go wrong with any title in the amazing Ethiopiques collection.
- Artur Silva
- Hana Eritrean Market
Hana Market is home to the city's only Eritrean market. Once a part of Ethiopia, Eritrea declared independence in 1993. Both countries still retain many cultural similarities, including their music.
Hana is thick with atmosphere, as the market has become a social center for Indy's Eritrean community. On my last visit, a small group had gathered in the shop to play cards and enjoy some traditional foods. I felt like I'd arrived at a really cool house party, and far from being annoyed that I'd disrupted the card game, the group was pleased to help me choose CDs from the shop's modest selection of Eritrean music.
- Artur Silva
- Eritrean CDs at Hana Market
Contemporary Ethiopian and Eritrean music is not easily accessible online, and you won't find many of the titles carried by Abyssinia and Hana on iTunes or Amazon. Hana and Abyssinia offer a tremendous musical resource to Indianapolis, and the staff at both shops are excited to share their culture with neophytes.
