[:en]Algiers 01.02.2018. Dom omladine

[:en]Algiers 01.02.2018. Dom omladine
Makedonska 22, Beograd

THURSDAY, 01 FEBRUARY 2018 at 21:00
“The Underside of Power” of the Algiers (USA) group does not stop collecting positive reviews from music critics and the media. On this occasion, this phenomenal band will perform for the first time in Serbia, on February 1, 2018, at the Youth House of Belgrade, organized by RockSvirke.com concert agency starting at 9 pm. Tickets can be purchased from tomorrow, November 24 (at 10 am), at a promotional price of 1000 dinars (limited ticket contingency until they are sold or until December 29) at Eventim Serbia, GIGS TIX, DD Tickets- and also at FELIX Shop, TC Sremska, (2nd floor, working hours: 12 – 20h).

When the promotional tickets are sold out, the regular pre-sale price until the day of the concert will amount to 1300 dinars, and on the day itself for the ticket it is necessary to allocate 1600 dinars.

After the debut album of the same name in 2015, the American experimental band Algiers (Algiers) released the second album, “The Underside of Power,” in mid-2017 through the Matador Records publishing house. It was produced largely in Bristol, and the album was produced by Adrian Utley (Portishead) with the help of the permanent associate Ali Chant, mixed by Randall Dunn (Sunn O))), while the post-production part was in charge of Ben Greenberg (The Men, Hubble, Uniform).

The backbone of this new, uncompromising and passionate album is a mix of music from the South Reef to the North Soul, through Gospel and IDM (Intelligent Dance Music) to industrials, grays, and disco discs. “The Underside of Power” is an album that accompanies the debut of the band, already praised by NY Times, Pitchfork, The Quietus and other popular and music magazines. It was created during the period of Brexit and Tramp America, and the album deals with the subject of oppression, police brutality, dystopia and hegemony, and fireworks guided by the soul touch the moments of personal reflection.

Composed of friends from childhood, the band consists of singer and guitarist Franklin James Fisher, bassist Ryan Mahan and guitarist Lee Tesche, and from 2016, a new member, former drummer of the Bloc Party group, Met Tong (Matt Tong). Growing up together in Atlanta, they share experiences and a collective understanding of the rise in poor policy and racial and institutional violence, which led them to fight their own way against the wave of frustration and despair. The output was found in positive, eclectic and electronic sound. The very name of the band refers to anti-colonial struggles generally in the world and symbolizes the dystopian space of violence, racism, resistance and religious influences and blends.

“The Underside of Power” does not stop collecting positive reviews from music critics and the media. The inspirations for the creation are varied, through Fred Hampton, Che Guevara, verses by T.S. Eliota et al. Their desire to send messages to all generations is enormous. In the eclectic opus of melodies, the influence of Afir Bambaata, M.E.S.H., Vatican Shadow and others influencing the process of creating an album is heard. As a band who, with his lyrics and music, is not afraid to talk about the problems of the present, the media give him the title of rebellious and believe that the music of the protest is not dead.

“We are just as crazy as others,” says bassist Ryan Mahan.

Crazy or not, this is a band that predicts a prosperous future. Given that during the summer of 2017 they were on an American tour as hedlajneri, and during June and July opened for Depeche Mode on their European tour, the potential remains to be revealed.

“…. gleefully fuses classic 60s soul with post-punk experimentation to often astonishing effect “- The Observer ****

“… a genuinely new way to mangle the blues” – Rolling Stone

“… the 20th century reimagined as a series of revolutionary spirituals” – The Wire

10/10 – The A.V Club
9/10 – Clash
**** – DIY
9/10 – The Line Of Best Fit
***** – Music OMH

“Ebbs and flows between moments of gritted-teeth tension and furious release, its solemn, confessional-booth ruminations offset by heart-racing, steeple-toppling rave-ups.” – Pitchfork

“These new songs, seven of them in the end, are fantastic – running the gamut between funk basslines, rolling piano, hissing booms, insidious Vatican shadow rattles and BBC Radiophonic Workshop if they did goth ballads.” – The Quietus



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