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Chris Grier is taking over Comet the night after Thanksgiving. They call this day Black Friday, which is definitely fitting. After a big meal on Thursday and a day filled with retail therapy, the only anecdote I can think to start actually feeling again is a night with Chris Grier. Check out the write up from one of the better blogs in town, The Vinyl District. Also, here is Chris' assessment of the night:Ya never know about the day after T-Day. Most folks are out of town, but then again, a lot of folks come back to town to visit family. And then, by Friday, they’re kinda over the whole family thing and looking for something to do.I say, just to be safe, you should absolutely go to this show.So my prediction for the evening? It will either be totally empty, packed to the rafters, or somewhere in between. I guarantee one of those three outcomes will occur.

Below is the first of several updates on District Calling, an experiment in collaborative performance:




Wonderful winds have brought two new members to the Hume camp, hopefully we can keep'm round. Christian Brady (Guitar/Vox) and Joey Doubek (Bass/Misc) will be joining us for all future endeavors and are currently pushing the sound in amazing and wide directions.
We're currently rehearsing/recording non-stop and won't be playing live till closer to the new year. Future recording projects are lining up with grins including splits and an all DC artist compilation, all slated for early 2010.
The "Mirroring" tour over the summer was beautiful and brutal. This was a composition based project where the piece spanned the entire length of the set, about 28 minutes. The piece was based on a graphic image dreamed up of two rivers colliding and above these two rivers two birds bodies collide.The Hume lineup for this tour included the following musicians:












Azeem met me at the right place at the right time when Dan (roommate/Deleted Scenes) and I went on 24 hour beach trip to rendezvous with friends, dolphins, laundry room floors, and a new sense of repose. On our way back deep in conversation of the occult we noticed a flea market and made a stop. Along with the Azeem I picked up a James Brown record and we kicked some dirt roads then made our way back to the District. My favorite part of these recordings are some of the lyrics “cheer up now brethrens and sisterians”, some of the publishing blemish’s “Thanks to Chico who helped stop and start the tape” and a big sticker that lies on the back cover saying Tuff Gong (Marley’s label) was cool with the photo of a Azeem with a smiling bob. But most of all I love the out of tune synth which is maybe 5 cents above the actual pitch that they were trying hit and the straggling acoustic guitar that could’ve only sounded perfect after you had praised jah as highly as Azeem’s seemed to.



This Thursday, October 15th, is another chance to see Dr. Cornel West and The Cornel West Theory share the stage. If you missed it last month, then don't sleep on this opportunity to see both the band and the professor drop science at Busboys and Poets. Dr. Cornel West will be signing copies of his new book, Brother West: Living and Loving Out Loud, and The Cornel West Theory will be playing tracks from their debut album Second Rome.
The Cornel West Theory
Second Rome CD - SCKTS008
$13ppd Buy Here (International orders add $3)
With the blessing of Dr. Cornel West, the Princeton University professor and renowned author, the band takes its name from his prolific writings and philosophies, which have shaped contemporary sociopolitical thought throughout the world. Creating a soulful music that entertains, informs, educates and provokes activism, their sound is rooted in hip-hop–but that single genre does not define the range and variety of the musicians in the group.
Buildings
Endless CD EP - SCKTS007
$10ppd Buy Here (International orders add $3)
Buildings (aka bldgs) is not even a year old and is already one of the most interesting bands in DC. The two-guitar/bass/drums axis is in play, but it isn't typical post-whatever clone lamery. The group has whipped together a stimulating and heady mélange of coruscating hyper-nowism.
The Fly Girlz
Da Brats From Da Ville CD - SCKTS004
$12ppd Buy Here (International orders add $3)
The Fly Girlz, six MCs aged twelve to fourteen, use their songs to explore everyday struggles in Brownsville, from boys to drive-bys. Overcoming social, and academic obstacles of all varieties the Fly Girlz offer us a look into their young but challenging day to day. The record's beats and production were done by Nathan Corbin, aka ZEBRABLOOD, who is a member of the band Excepter.
ZS - Excepter Remix 12" - SCKTS005
$12ppd Buy Here
(International orders add $5)
This 12" record features Excepter's Nathan Corbin remixing two tracks from New York's ZS back catalogue. "Bump" and "Except When You Don’t Because Sometimes You Won’t" get the raw dance trance minimal-beat treatment. Nathan Corbin most recently provided all of the beats for The Fly Girlz Da'Brats from Da'Ville CD.
Hume Presents the Phat Daughter String Quartet LP - SCKTS006 $12ppd
(International orders add $5)
Hume’s Phat Daughter String Quartet, collects four unique string-based compositions on the a-side backed by massive dub versions of those same pieces on the b-side. Hume’s Britton Powell is one of the most exciting Washington, DC based songwriters and Sockets is pleased to share this release with Hugh McElroy's Ruffian Records imprint. As the DC City Paper writes, Hume "deftly splices the quartet into some heavy reggae riddims, sounds kind of like Arvo Part paying a visit to Black Ark." Check out this video for a preview of "For Rabbit (Jane)".
Little Women teeth CD - SCKTS002 $11ppd Buy Here (International orders add $3)
Brooklyn quartet Little Women create music that blurs the line between structure and spontaneity. The group’s sound distilled from a broad range of influences that stretch from classic Chicago free jazz thru pop music, punk rock, math metal, and harsh noise. Little Women never stop pushing into new sonic territory: splitting overtones to create ghost notes, violently disassembling their instruments onstage, and attacking written and improvised material with equal ferocity.