Beach Pop: Sonny & The Sunsets W/ Sarah Bethe Nelson, Zebra Hunt

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Beach Pop: Sonny & The Sunsets W/ Sarah Bethe Nelson, Zebra Hunt
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Tractor Tavern says
Price:
$ 12.00

Age Limit:
21+

Additional Info:
The modern age sends love letters on yellowed, empty pages. It’s got telepathic advice gurus in its timeline and deep sea creatures washing up on its shores. It’s got plugs, buttons, and illusions, and a grocery store whose aisles correspond to Dante’s infernal circles, plus a nebulous sense of ephemeral weirdness. It’s got Moods Baby Moods and the existential angst it yields has Sonny Smith in a funk, but he’s turned it into funk.

On previous records, the Sunsets have plundered a wide spectrum of musical appropriation (garage-rock, forgotten AM radio fodder, Modern Lovers, late-era Clash, Doo-Wop, and the Velvet Underground, to name a few.) Mood Baby Moods follows suit, and on this outing we find the Sunsets, along with producer Merrill Garbus of tUnE-yArDs, repurposing early ‘80s funk and new wave with rap beats and collages from both sides of the ocean (be it Niles Rogers, Jah Wobble, The Gap Band, Orange Juice, Trans-era Neil Young or The Tom Tom Club.) These are songs that juxtapose the haze of today with a vibrant and colorful explosion of sounds and 180 degree turns.

Sonny’s gift for vivid storytelling is no secret. His last album with the Sunsets, Talent Night at the Ashram, was peopled by characters he’d created for scripts that never saw the light of day. He greeted 2016 with a solo LP (Sees All Knows All) that involved no singing at all — a winding tale of one musician’s quest to find himself set to music. Moods Baby Moods is no less inventive and arguably more musically sophisticated than Smith’s previous records.

Lyrically, Smith is playing with the grand themes of today. In his search for purpose in the cruel realities of the modern age, he’s trying to make sense out of chaos and suffering, and to find a way to live and be real. This is not an easy task in a time of synthetic feelings (“Moods”), computer created confusion (“Modern Age”), climate change (“Dead Meat on the Beach”), civil rights abuse (“White Cops on Trial”), and the uneasy feeling of numbness in our chaotic world (“Check Out”).

 But in the final moments of Moods Baby Moods, Sonny delivers a line that not only speaks truth to his philosophy as played out across his career, but to what it means to be human in any era, regardless of our relationships with technology, spirituality, authority, or art: “I’m full of love, and shit, all the time.”
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By: Tractor Tavern

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