For a lot of Americans, love and appreciation of other cultures and their music also almost starts off in a Simulacrum, with a clean, approachable, somewhat stereotypical, often sterile approach to other cultures, i.e. This is a similar conundrum for a lot of people from the United States, who might not necessarily have a direct connection to various musicks from around the world, apart from listening to records or watching films. Photo edited w/ Modern + Moody Photoshop Actions From Foto Rx Co. And then there is the land itself, in all its sun-dappled, misted greenery, with mighty forests cutting into several majestic rivers, giving this city its unique Bridge Town/River City vibe, which further segments things even further still. And then there’s the flip side, the seamy underbelly, as it were – with a long, shadowed, and UGLY history of racial injustice and bigotry. It strikes right at the heart of the dichotomy that is this city – on one hand, we’re the vanguard of progressive politics, whose name is practically synonymous with gender and identity politics and sustainable lifestyles, much to the frustration of most people who don’t live here, (and some of us that do). Trying to take the pulse of Portland’s music scene is difficult trying to definitely nail down some sort of over-arching, cohesive definition, is nigh-on impossible. Portland’s Abronia break the fourth wall on Fourth World music, delivering two sides of authentic, sax-seared sub-saharan Psych Rock! Abronia – Obsidian Visions/Shadowed Lands album review
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