My life in the form of music: show previews and reviews, CD reviews, features, and miscellaneous info...all with videos, pictures (most taken by me), and anything else I can find. Look out for clickable links. Click pictures to enlarge. I recommend using the "Search Blog" feature in the upper left to find a band, album, etc.
Here are the bands I liked from Michigan or Illinois (mainly Chicago or suburbs). Check them out. Do it. Do it.
Best out of Michigan
Anathallo – Floating World : This almost made my real top ten list, but I felt that it fit better here. Much of the inspiration came from a Japanese folk tale - like the Decemberists new album - but for some reason these guys got picked on for being pretentious, while Colin Meloy and Co. were praised. Anathallo's beautiful, complicated pop music rests in a world of its own, and I'm very excited to see where this group goes.
NOMO – New Tones : NOMO is supposedly an Afro-jazz group comprised mostly of U of M masters of music students. Ironic humor aside, their music is sometimes stunning in the same way as many classic jazz artists. Now they just need to made some memorable hooks, and emphasize individual musicianship.
Thunderbirds Are Now! – Make History : I think Justamustache might have hit the nail more squarely on the head, but I'm proud of this group. No one has ever catapulted out of Ferndale, MI and made a sizeable dent in the indie rock community before. Rock on, and bring that exclamation point.
Those Transatlantics – Knocked Out : This seems to be a summer project of five Central Michigan University students, which is surprising, given how good the music actually is. I saw them at Abbey Pub over the summer and was impressed off record as well. Hopefully they'll put a full-time push into their music sometime soon.
Best Out of Chicago
Bound Stems – Appreciation Night : These guys just might be onto something new. It's not quite the disjointed indie rock of Modest Mouse, and it's not quite the buzzing-with-life collective rock of Broken Social Scene. It's something very....Chicago. But it's also something very intriguing.
Kyle Mann Combo – Goodbye Kites : I'm a huge Ben Folds Five fan, so the idea of a piano/bass/drum trio immediately grabbed me. Luckily, I wasn't let down. They produce some memorable music with intelligent lyrics and a whole lot of class.
Chin Up Chin Up – This Harness Can’t Ride Anything : CUCU is a tricky band. Just when you're about to write them off as a Cure copy (or any other kind of copy) they impress your pants off. They are becoming a special band to Chicago, not only because of their intimate connection with venues like Empty Bottle, but just because they make music that belongs in the Windy City.
The Diminisher – Imaginary Volcano : This is a hidden treasure that rests somewhere between the eclectic late-'60s work of Pink Floyd and the Beatles, with a dash of medieval flavor. Their MySpace page only has like 300 views, but hopefully I can help in that department.
Wax on Radio – Exposition : I had the pleasure of seeing this band recently at Beat Kitchen. Mikey Russel has a voice like I've never heard before. They play rock music of different varieties, but they are progressive in that they have the ability to finally eliminate many annoying mainstream trends of the past 15 years. Are they headed for radio? Maybe. Do I care? Hell no. I hope they take over the world.
I don't have much time anymore since I have to move tomorrow, so the rest are gonna come quickly. Maybe I'll return to them later to add more info. These were the bands that wowed me the most this year on stage:
Broken Social Scene @ Lollapalooza 2006 - 8/6 : Hands down the best set of the festival, and the moment I finally made peace with Chicago.
Disco Biscuits @ Lollapalooza 2006 – 8/5 : I'd rather see them play in an open field or a beautiful theatre, but damn were they fun.
Of Montreal @ Metro – 3/10 : Kevin Barnes is insane, but it makes for good stage presence.
Bloc Party @ Intonation Festival – 6/25 : Overall, the Intonation Festival was a joke. But this band brought every ounce of power from their album to the live setting.
Mice Parade @ Empty Bottle – 2/13 : My first experience with the Empty Bottle's free Mondays turned out to be an extremely pleasant surprise. This band is under-rated.
Aloha @ Schubas – 8/20 : Yay for xylophones. I'll never tire of them. Their intricate instrumentation and various moods come across the best on stage
The Little Ones @ Schubas – 11/16 : These guys bring southern California with them in the tour van. Bring your board shorts and sunscreen if you ever get a chance to see them!
Anathallo @ Lollapalooza 2006 – 8/4 : The Michiganian mini-marching band played at 1 pm on Friday (one of the first sets of the festival), but set the bar high for the rest of the weekend.
Evangelicals @ Schubas – 10/1 : What a wild trio. Schubas music room almost couldn't handle it. They have the potential to become a special band with a dedicated cult following.
Yo La Tengo @ The Vic – 10/5 : Their set at Pitchfork was unsettling, but this controlled environment allowed them to cultivate all their quiet and loud noises with perfection.
Once again I don't want to dwell on these overhyped, undeserving, wastes of space. I just need to vent quickly, and then we'll return to more pleasant issues. These are the bands I hated the most in 2006:
The Walkmen – A Hundred Miles Off : I hold them at least indirectly responsible for delaying the recognition that French Kicks (former label mates) have deserved for years now. And then, when the Kicks get the push they need, their music lacks the same sparkle that drew me to them. The Walkmen are copycats and overall terrible musicians. Avoid them at all costs.
Joanna Newsom – Ys : Newsom sings like an epileptic, demented elf. I don't care about Van Dyke Parks' arrangements, I don't give a crap about Jim O'Rourke's production, and Newsom's harp skillz don't do shit for me. If only one guitarist existed in the world of independent music, he would not deserve praise for being the best guitarist. I think my next Anti-Hipster feature will cover this one, so I'll stop for now.
TV on the Radio – Return to CookieMountain : I've already written an extensive feature about this filthy rubbish (see the July section of this blog). They'll fade away...just wait.
Bonnie “Prince” Billie – The Letting Go : He claims that music writers spend too much time categorizing and not enough time sharing. Well, Mr. Billie, if it makes you feel better, I'll share your music with my trash can. That's where it belongs.
Clap Your Hands Say Yeah – Clap Your Hands Say Yeah : It's the voice on this one. I can't stand the voice. I'd rather listen to CDs chock full of nail-down-the-chalkboard recordings. Does that idea alone make you cringe? That's what this band does to me.
Arctic Monkeys – Whatever People Say I Am, That’s What I’m Not : It doesn't matter what records they set or how much they got yapped about on the internet. This is lousy, derivative rock music with no future.
The Raconteurs – Broken Boy Soldiers : Damn you, Jack White. Damn you to hell. Whatever artistic credibility you held with the White Stripes (a band I never even enjoyed) is now gone. Go rot in your world of classic rock radio giants.
This is a tough one for me. I don't like to center on the negative of anything, let alone bands that I was once obsessed with. But I've recently learned an important lesson. Artists and bands have to work for my devotion (just as they should have to for everyone else, although that's not always the case). Every single release from a band needs to be considered without bias. Each time a band records, they have the opportunity to create art. I have a feeling that the most artistically creative bands will see a power boost in the near future, thanks to resources like MySpace that send their music to a wider audience without the help of a major label.
Just because a band is on this list doesn't mean I hate their new album, or even that I wouldn't recommend them to a friend. It just means that they have had better moments. I know their potential on record, and this year they didn't reach it. With that said, these were the biggest disappointments of 2006.
Yeah Yeah Yeahs – Show Your Bones : While their earlier work was comprised mostly of gritty, exciting art-rock, this album is nothing more than alternative pop/rock. Whether it's the boring time signatures, lack of guitar and drum explosions, or the absence of violent, sexual tension in Karen O's voice - this recording was a sonic kick to my groin. Maybe Karen O will one day join the ranks of lead-singers-gone-solo like Gwen Stefani (can you sense the bitter sarcasm?).
French Kicks – Two Thousand : 2003's Trial of the Century was one of my favorite records of this decade (if not of all time). Their '60s rock asthetic, subtle yet complex guitars and keys, and swooning vocals reached a pinnacle there. But this album doesn't feel as special. Maybe I shouldn't pick on them. Everyone has creative slumps, and I have a feeling they will make more memorable music in the years to come, and should reap the benefits of their newfound boost in promotion.
The Decemberists – The Crane Wife : I don't care what any critic says about this album. The group's main concern here was to create a record that would suit a major label (Capitol), regardless of whether or not the label pressured them to sound a certain way (the band says they were not pressured). They used to record every song as if it were a piece of art being handed down to the successor of some great empire. They've lost the intimacy and diversity that I used to love.
The Flaming Lips – At War With The Mystics : I can't bash the Lips. They are some of the greatest entertainers of our time (which I've been so fortunate as to witness twice). Maybe this is just the band's post-heroin album (well, Wayne Coyne claims to have never used drugs). But whereas 1999's Soft Bulletin was terrifying yet beautiful and 2002's Yoshimi Battles the Pink Robots was unique, introspective space rock, this time around sounds a bit contrived. As long as Coyne's vocal chords don't give out on him, we should expect them to hold the festival performer trophy, regardless of what they do on record.
Incubus – Light Grenades : I've often said that Incubus is the one mainstream band that I will always defend. But really, there were two albums that I loved: 1999's Make Yourself and 2004's A Crow Left of the Murder. Plus, their live show has gotten consistenly better, as they explore new versions of old songs and try out different instruments. This is the same kind of let down as 2001's Morning View, where they rearrange tried styles instead of developing new ones. I won't give up on them though...not yet anyways.
Pretty Girls Make Graves – Elan Vital : 2003's The New Romance was also one of my favorite albums of the decade. The intricacies unfolded only after many listens, until eventually each second on the album feels completely necessary - a true work of art. Now, three years and a small line-up change (exit guitarist J Clark, enter keyboardist/vocalist Leona Marrs) later, they sound like they're trying way to hard. I have a feeling Clark had a lot to do with their ability to build delicate indie rock songs that bubbled until they erupted in a beautiful firestorm. Don't get me wrong. Elan isn't bad, but the romance is over.
...And You Will Know Us By the Trail of Dead – So Divided : What can I say about ToD? I'm happy that they're finally starting to see the success they've deserved for a while (they were recently featured on MySpace). I just can't let go of 2002's Source Tags and Codes. To me, it was a Dark Side of the Moon for a new generation - and proof that the album is still an important medium (despite the general public emphasizing the rise of the "playlist"). Their mastery of the balance between order and chaos showed itself in truest form that time around. I have a feeling they're not lost for good, but this album failed to hold my attention.
This is a list of my favorite songs of 2006. The number was arbitrary - this is just how many popped into my head when I sat down to compile the list - but the order goes from 1 (most favorite) to the end (barely included). The way to get on the list is simple. All of these songs were stuck in my head at some point this year (and many were featured on my MySpace page...if you've ever visited). You'll notice a correlation with my most favorite songs and the albums that made my Top Ten list. You'll also notice some inclusions from the Biggest Disappointments and Bands I Hate the Most (which should arrive within the next day or two). The point is, a song is separate from an album, but it's also separate from the band itself. I might not like the direction one of my favorite bands is moving, but that doesn't mean a song or two doesn't still give me a thrill. Also, I sometimes think a band is extremely overrated, but I can admit when they have a powerful song or two.
Some will include short bits of info or stories. Some will have links and/or pictures. But some you'll just have to look up yourself. So here are my favorite songs to come out this year. I know you're excited. Remember to breathe!
Destroyer – European Oils : No song pulled on my heart strings the way this one did.
Mew – Why Are You Looking Grave?
Feist – Mushaboom (Postal Service Mix) : The original Mushaboom had more plays on my stereo this year (but that was released on Let It Die way back in 2004). Listen for Ben Gibbard vocals mixed with Feist's, and hope that she is added to the roster if Postal Service ever records again.
The Long Winters – Honest
Neko Case – Star Witness
Aloha – Ice Storming
M. Ward – Chinese Translation : The best road trip song of the year.
Evangelicals – Diving
Phoenix – Long Distance Calls
Serena-Maneesh – Selina’s Melodie Fountain
Girl Talk – Summer Smoke
The Little Ones – Oh, MJ! : These guys probably would have made my top ten list, but they didn't release a full length album yet.
Annuals – Dry Clothes
Camera Obscura – Let’s Get Out Of This Country
Belle & Sebastian – We Are the Sleepyheads : B&S took some leaps on their new album, and not all to good places. But this song blew me away.
Hot Chip – Boy From School
DeVotchKa – Curse Your Little Heart : I'm sad that I missed them live. These Little Miss Sunshine soundtrack-ers make me want to drive to Mexico immediately.
Thom Yorke – The Eraser
The Essex Green – Rue de Lis
Voxtrot - Mothers, Sisters, Daughters & Wives
Wax on Radio - The General of Medicine City
The Decemberists – The Island : The album was lackluster, but this three-part song left my jaw dropped.
Anathallo – Hanasakajijii Four: A Great Wind, More Ash
The Roots – Atonement
My Brightest Diamond – Dragonfly : Her fluttering voice reminds me of Fiona Apple.
Basement Jaxx – Take Me Back to Your House
CSS – Let’s Make Love and Listen to Death From Above : Silly Brazilians (one with a handlebar mustache) knew how to rock Chicago's Pitchfork Festival like no other band.
Band of Horses – The Great Salt Lake : Three words - pedal steel guitar.
Tapes ‘n Tapes – Jakov’s Suite : This band was super-hyped, but they do know how to serve up a raw, urgent type of indie rock (like a northern Kings of Leon)
Ratatat - Wildcat
Lily Allen – Knock ‘Em Out : Do not approach Lily Allen at a club, unless you desire to be humiliated
Those Transatlantics - Boys and Children, Sing for Summer
Yo La Tengo – Pass The Hatchet, I Think I’m Goodkind
Bound Stems – Wake Up, Ma and Pa Are Gone
…And You Will Know Us By The Trail of Dead – Sunken Dreams : This song makes me think that ToD still has it in them to make music with the same cathartic release as is found on 2002's Source Tags and Codes. Here's hoping...
Beach House – Saltwater : This east coast duo creates eerie pop best listened to with your eyes closed
Junior Boys – In The Morning
NOMO – Nu Tones
Sufjan Stevens – Put The Lights On The Tree : Stevens does Christmas (and Michigan) proud with this, one of many originals from the Songs for Christmas box set
Black Moth Super Rainbow + The Octopus Project – Spiracle : This was a collaboration between two groups I had never heard of before. They created some amazing indie electronica.
Thunderbirds Are Now! – We Win (Ha Ha)
Amy Millan – Blue In Yr Eye
Aesop Rock – Daylight
The Boy Least Likely To – Be Gentle With Me
Say Hi To Your Mom – Blah Blah Blah
Jeff’s Holiday – College : Yes, he is my brother, and yes, I get this song stuck in my head for days at a time
French Kicks – So Far We Are
The Flaming Lips – Pompeii Am Gotterdammerung : The best copy of Meddle-era Pink Floyd I've ever heard.
Not everyone made the cut on the high school hockey team, but that didn't mean they sucked (or maybe that's just my opinion - having never made any school team...ever). Anyways, I found these albums highly enjoyable, but they didn't quite make my top ten list. They were lacking in things like originality, consistent greatness or repetitive listening ability. These are in no particular order, and definitely should be checked out.
The Long Winters – Putting the Days to Bed : I'm hoping that John Roderick will carry the torch of incredible Northwestern indie rock now abandoned by Colin Meloy (of the Decemberists) and Ben Gibbard (of Death Cab for Cutie). Look here for breezy, autumnal acoustic (mostly) rock.
Sonic Youth – Rather Ripped : This album was a pleasant surprise for me, since I had been exposed to Daydream Nation only about a year ago and haven't yet gotten into it. Their playing here is organized and melodic, as they stay true to their old style (they practically defined the term "wall of sound") while turning down the distortion.
Serena-Maneesh – S/T : Don't compare this Norwegian group to My Bloody Valentine or Slowdive, despite the fact that they are riding the crest of a shoegaze resurgence. Instead, allow them to demonstrate that shoegaze (that is, dreamy or ambient indie rock) with a hint of psychedelia and a dash of worldly flair can exist separately from those bookmark references.
Thom Yorke – The Eraser : All things considered, the leader of Radiohead did not let us down on his first solo effort. The music is technically similar to Kid A and Amnesiac, but it sounds fresh. The songs work like indie electronic ballads showcasing Yorke's haunting voice.
Subtle – For Hero: For Fool : This group just can't be described with common adjectives. Personally, I feel like they are way more successful than TV on the Radio at creating a new sound cominbing hip hop, rock, and electro. One thing is for sure - they demand attention.
Jim Noir –Tower of Love : If you threw Badly Drawn Boy, Beck, the Beatles, and the Beach Boys in a blender, this is what you'd get (minus all the blood and guts, of course). This bedroom recording project from the British bloke is quite impressive, and is sure to inspire many budding solo musicians to do the same.
Yo La Tengo – I Am Not Afraid Of You And I Will Beat Your Ass : From one point of view, this is a wonderful slideshow of every strengh the group has ever displayed. From another, it's yesterday's news. Also, the albums where they stick to one mood or theme may be more memorable (see And Then Nothing Turned Itself Inside Out and Summer Sun). You decide.
The Essex Green – CannibalSea : Sasha Bell has a casual, yet completely addictive voice that seems transported straight from the 1960s. This group (along with Camera Obscura and others) helped to make 2006 the year of indie pop.
Junior Boys – So This is Goodbye : Add another point for our neighbors to the north. These Canadians owe much to 80s groups like Tears for Fears and Depeche Mode, but also to newer electronic pop bands like the Postal Service.
Ratatat - Classics : The next in a growing line of bands to put a tiger in their album art (including The Go! Team and The Big Sleep). This is instrumental indie rock with dual guitars and a drum machine, and it makes surprisingly good Christmas music (go figure).
Now that I've terminated both my day job and my internship, I have a couple days to spare before packing up and moving back to Michigan to begin my masters of journalism program. In the meantime, I'll try and crank out the biggest and best musical summary of 2006 that I can. This is the first year that I've had such extensive exposure to new music, and I've realized how absurd the idea of a top ten list really is. However, I've been keeping a running one all year, and now I'm going to share it with you. But it won't stop there! I'll also include Honorable Mentions, Best of Chicago, Best of Michigan, Biggest Disappointments, Hipster Bands I Hate the Most, Best Songs of 2006, and Best Live Performances of 2006 (also with honorable mentions). This is also a sort of one year anniversary of this blog. So keep tuned 'cuz this is gonna get exciting!
HEAD DRESS TATTOO 2006 TOP TEN:
10. Camera Obscura - Let's Get Out Of This Country : Sweet, summery, nostalgic indie pop from Scotland. This is the stuff that Saturday Looks Good to Me has been trying to create for years, but without the same payoff. 9. Hot Chip - The Warning : This is the electronica band comprised of four keyboards and a drum machine (they claim to have no computers or pre-recorded material for live shows). The result is catchy, stimulating electronic pop. 8. Neko Case - Fox Confessor Brings the Flood : I thought I didn't like country, but oh that strumming! That slide guitar! Her painful, haunting voice! Case makes me want to cuddle up in front of a fireplace with my sweetheart in a small Colorado cabin, as it snows and snows outside. Sounds nice? So does this album. 7. The Roots - Game Theory : ?uestlove and the gang give a realistic and gritty account of the modern world, while still creating something beautiful. The MC work is impressive, the productions are diverse, and there's not a wasted moment on the album. 6. Mew - And The Glass Handed Kites : These Danish fellows got picked on a lot for having long hair and writing songs of childhood fantasy and fear, but this blend of dream pop and progressive rock is nothing if it's not powerful. Anyone who calls them "uncool" can eat a heaping pile of hipster shit and die. 5. Girl Talk - Night Ripper : Gregg Gillis is winning over the masses with his mash-ups that combine various genres, decades, and styles to produce the best pre-drinking album of all time. He claims it's original music - not a DJ mix - and I'm starting to believe him. Do you? 4. Evangelicals - So Gone : This is not Flaming Lips progeny, even if they do share the same love for vivid, bombastic sounds. This is not a religious album, even if you will worship them after one listen. This is amazing indie rock, full of synth washes, time changes, and flailing vocals. Get ready for a new kind of freak out. 3. Aloha - Some Echoes : Pretty much the only band that fulfilled my expectations this year, Aloha creates intricate indie rock with an integrity level unheard of in modern music. I hope, hope, HOPE that they get their due sometime soon. They should own the world by now. 2. Phoenix - It's Never Been Like That : Finally captalizing on the melancholic yet celebratory fervor inherent in "If I Ever Feel Better" (from their debut United) and "Everything is Everything" (from their sophomore Alphabetical), every song on this album is a special entity. Somehow these Frenchies manage to tap into the very essence of life on these short, simple little bits of heaven. 1. Destroyer - Destroyer's Rubies : This album has been firmly planted in my #1 spot since I discovered it around June. Destroyer sounds like a classic rock band playing in some Western saloon in the abyss of your mind. The mix is so fragile that it really only works on record (they're good live, but not quite as good), as Dan Bejar's voice barely hits notes and the instruments hang onto each other by a thread. Call it a resurgence of my boyhood devotion to Cat Stevens (perhaps due to the assocation with my father, who would sing the songs to me when not playing them repeatedly on our Chrysler mini-van stereo). This record has the ability to make me miss a time during which I was miserable. Not because I want to be miserable again, but because it felt so incredible to discover this treasure even though I hated the state of my life earlier this year. That, my friends, is the power of music.
Just a quick news flash from my world of music. Incubus' new album Light Grenades was released today by Immortal/Epic. Thus far, I have only heard the track (and seen the video for) "Anna Molly," so I really don't know what to expect. But this band will always have my heart. Each of their albums has had enough ups for me to forgive the downs. Plus, their live show has consistently gotten more impressive (I saw them pretty much every time they came to Michigan from 1999 to 2005). This tour will be scaled back a little from the Crow Left of the Murder tour. The shows are booked at mid-sized theatres instead of stadiums (including a Feb 6 date at Detroit's State Theatre and a Feb 6 date at Chicago's Riviera Theatre), which is awesome for long-time fans. With any luck, the once-teenage girls obsessed with "Drive" are now oblivious to the band's existence, allowing those who appreciate all of the band's styles and strentgths to flock in numbers. Visit the links below for the entire tour schedule, as well as streaming tracks from the new album.
(This review was posted on thetripwire.com on November 20, 2006. Keep an eye on that website for more of my work in the near future.)
Once upon a time (about five years ago), a band from L.A. called Sunday’s Best made some of the prettiest pop music suited both for seaside lounging and mountaintop snow sports (in fact, they were featured on the monstrous soundtrack for the Microsoft snowboarding game Amped). Unfortunately, that band got tagged with the fated “emo” label, and, for unknown reasons, faded into oblivion. Now vocalist/bassist Edward Nolan Reyes (switching to guitar) and drummer Ian Moreno have moved on from that band to form The Little Ones. Joining them are Brian Reyes (bass), Lee Ladouceur (keyboard), and Greg Meyer (guitar). Their combined forces make them the most difficult to hate band of the year. A glance at their abstract yet cheery album art brings to mind The Shins CD inserts, but don’t expect this band to be a carbon copy.
Their recently released Sing Song EP (Astralwerks) is fun, to say the least. According to the band’s website, ”They came up with Uncle Lee’s Rule of Feet [during recording]. The rule stated that a song was deemed appropriate if, and only if, each of the Little Ones’ feet could shuffle.” Luckily, the self-imposed rule led them to success. Their indie pop is catchy like label-mates Phoenix, sun-soaked like older Phantom Planet, and smooth like the disbanded Sunday’s Best. But these days, a band needs an extra push to rise above redundant internet buzz. The Little Ones’ vibrant, distinctive live performance accomplished that with ease. From start to finish, Ed Reyes stood confidently at the front of the stage with his Rickenbacker guitar that shined red like a well-waxed surf board. His voice is timeless, providing the key element that makes their music so memorable. Ed and Brian were immediately recognizable as brothers, which added a familiar vibe to the already pleasant atmosphere. Furthermore, they played as if the audience were their close friends, instead of alienating the crowd as many current bands do.
The group’s sound screams of California (just like Ladouceur’s bushy, blond hair). You could practically hear sea gulls and waves crashing in the background, and hints of an ocean breeze made their way through Schubas music room. Plus, they have so much fun on stage that I almost hitched a ride to Cali with them. Most of their songs are very beat oriented, although the drums didn’t stick out over any other instrument. The keyboards are subtle but vital, adding extra flavor to the already zesty music. The separate instruments melted together as Uncle Lee’s Rule of Feet applied itself to the audience. All of a sudden, smiling and dancing were not a choice, but happened automatically for the majority of viewers.
The band (expectedly) played all seven songs from their EP. The melody on “High on a Hill” brought to mind the ‘50s pop from the movie “That Thing You Do.” The band combined that aesthetic with the ‘80s flavor of Simple Minds on “Oh, MJ.” The drawn-out “whoa” at the start of “Let Them Ring The Bells” sounded as if it were borrowed from Mates of State. The upbeat jingle “Cha Cha Cha” turned many frowns upside-down, despite how grumpy or weather-trodden Chicagoans tend to be. On “Face the Facts,” the band even dared to use a cowbell, and then managed to not sound pretentious (after all, the cowbell has become the most overplayed, albeit underused, instrument of the decade thanks to Saturday Night Live). At one point in the show, Ed Reyes warned the audience that the upcoming song was extremely dark and hoped they wouldn’t be disturbed. Even those who had heard the EP half believed him, but were relieved when the lighthearted affair was not interrupted by some depressing spell. “Lovers Who Uncover” closed the set, providing an updated take on Sunday’s Best’s airy indie rock. That song’s hand claps and “hey” chants secured the devotion of anyone left in the crowd who wasn’t already dancing.
Listeners who are still on the fence after hearing the Little Ones’ studio recordings should be much more interested after seeing them live. They affirmed the notion that a band’s true potential is demonstrated on stage. At this point, the band has a couple different directions they can take. But that’s the point of an EP; to test out the water. For the Little Ones, the water looks warm, crystal-clear, and full of little multicolored fish waiting to follow them. And since Sing Song EP is a stronger set of songs than most full length albums this year, it should hold over fans until the band can supply a full length CD of their own. Until then cherish the beautiful feeling their music inspires, and don’t fight the urge when your feet start to shuffle.
I'm a total douche bag of an older brother and I should have posted this a long time ago. My brother, Jeff Meador, has a recording project called Jeff's Holiday. He has a free CD available for download from his website (link below) titled Young and Restless. It is really cool, especially if you're a fan of Radiohead's Kid A/Amnesiac sessions, The Postal Service (or other indie electronica) or Cocteau Twins (or other ambient pop). He's now a freshman at MSU and writes music in his teeny tiny dorm room. Keep an eye on his MySpace page for news about the upcoming CD this winter.
Here are some sweet videos that I've recently come across. I've been thinking a lot about the future of music videos. YouTube won't be around forever. It's been sold to Fox, and copyrighted material is being snatched away as I type. In the meantime, it's pretty amazing that we can view these works of art in the comfort of our homes on broadband internet.
1) "Whoo! Alright Yeah...Uh Huh" by The Rapture - These guys look like they're having more fun than the Beastie Boys ever did fighting for their right to party. Check out the jukin' moves at the end! I think the appropriate response is "BOOYAH."
2) "Over and Over" by Hot Chip - I missed these guys at Metro on 11/10, but I've fallen in love with these videos. They appear to be true musical and visual artists.
3) "Boy From School" by Hot Chip - Watch the whole thing! Wait for the end! It's worth it!
Given everything that's going on right now, I should be forgiven for occasionally forgetting to cover a show. However, these shows were stellar, and they deserve mention.
Mobius Band wsg. Baby Dayliner @ Empty Bottle 10/18
Baby Dayliner
I saw this guy, who goes by Baby Dayliner, take stage after the opening band, and I thought he was going to introduce Mobius Band. As it turns out, he was about to perform a set. It looks like he's performed with a full band before, but this time he was just singing to a CD blasing over the PA. The first song sounded like a Barry White cover, and I quickly took my hater stance in pure anti-hipster form. I saw these girls in vintage dresses and guys in nasty sport jackets and mowhawks dancing their hearts out, and I wanted to strangle each and every one of them. However, as the performance went on, it became very difficult not to enjoy it. The soul and R&B gave way to more pleasurable sounds not far off from some of Beck's best work. Baby has an undeniable stage presence and a voice that reminds me of Morissey and David Bowie. So next time bring the band along, and maybe I'll start dancing too.
Mobius Band
Mobius Band were a hit on MSU's Impact Radio while I was still a student, so I was very excited to hear their brand of electronic indie rock. For only three people, they create a lot of racket. But their EP and debut album have more memorable moments than many bands with four LP's under belt. Currently, I'm at a loss for words (that's probably why I didn't write a review and it took me so long to post anything), so let's enjoy YouTube while we still can:
Anathallo @ Schubas 10/27
Anathallo
Anathallo appears to be the little band from Michigan that could, just like that story about a train engine climbing a long mountain and puffing "I think I can, I think I can." Well, I know they can. After a triumphant set on Friday at Lollapalooza, they returned to play my favorite Chicago venue (Schuba's) on Halloween weekend. It was enjoyable, but their sound it better left outdoors. Here's an older clip I found on the Tube (not the best quality, but better than nothing):
I wasn't at this show, but I have seen Aerosmith three or four times and I must say that I'm amazed they're still touring. Hell, it was amazing that they were still doing it back in '97 on their Nine Lives tour. Anyways, my dad sent me these pictures from his camera phone. So this is where technology is taking us. Those arena rock giants that once seemed so surreal and distant can now be sent via the internet to get up in your face. Aerosmith shows might be a tad predictable now, but they put on a live rock 'n' roll performance unlike any other American classic rock band. If that tickles your pickle, make sure to catch one of their shows before Joe Perry's half-robotic arms fall off, or Steven Tyler's viagra gives him a fatal heart attack. Check out Tyler's nose hair below:
In 1994, not long after the suicide of Kurt Cobain, a VHS tape entitled Live! Tonight! Sold Out!! was released to the general public. Now, a whopping twelve years later, the home video project will be available on DVD format.
This video compilation is definitely not a tool to attract new audiences to the band. It is more of a note in a bottle cast off from a sinking ship. The DVD has little direction and lacks the glossy finish of their major label albums. From one perspective that is favorable, since the video plays like a brutally honest documentary of a band that swerved out of control. On the other hand, Live! would have profited from some sort of narration or timeline presentation.
The program alternates between band interviews and concert performances, and promises to be informative and surprising to most viewers. Lead man Kurt Cobain looks far too comfortable in front of the camera. Meanwhile, bassist Krist Novaselic is enthusiastic about sharing his opinions, but is too inarticulate to convey meaningful information. Seeing drummer Dave Grohl in a state similar to Novaselic, it’s hard to believe that he would go on to do the Foo Fighters so soon (and, for a short while, so well). But the band seems to get along well in interviews, taking turns to talk and complementing each other’s points.
There is a gripping segment explaining how the band dealt with the popularity of their 1991 album Nevermind, but more specifically the radio hit “Smells Like Teen Spirit.” The band is shown playing the song on British music program “Top of the Pops” with Cobain singing an octave too low and barely playing his guitar at all. This section is followed by a barrage of media clips, including the band’s appearance on top 10 lists with Michael Bolton and Michael Jackson. The DVD is painful to watch – especially the closing moments which show the band destroying multiple stage sets – just as their music is often painful to listen to.
There is a lot of talk about the band’s influences. They were punk through their dedication to freedom of expression and rebellion against the music industry. They were pop because of the simplistic, infectious, and sometimes meaningless nature of their songs. They were heavy metal because they were loud and powerful. They were indie rock because of their wall-of-noise style, and passion and integrity. And there are specific bands that inspired them from each of those genres. Pop – the Knack; punk – the Clash; hard rock – Black Sabbath, David Bowie; indie rock – The Pixies, Meat Puppets, etc. Of course the world ditched all those descriptors for two: alternative and grunge.
There is also a lot of talk about “the next Nirvana,” a concept that comes to mind when bands like Arctic Monkeys are made into such a big deal. The band maintains that their music was about fun and freedom. It’s still a mystery how the band could have become such a worldwide powerhouse, but it definitely has something to do with the specific elements they incorporated into their music. Plus, their timing was impeccable. Generation X needed this reckless abandon and meaningless noise. When Cobain spit in and humped the stage camera, thousands of people cheered, smiled…and loved him.
The DVD presents some important questions. First, why did a band so intent on staying perpendicular to the music industry sign with a major label? Could it have been the money? By the way, Cobain topped Forbes.com’s 2006 list of Top-Eearning Dead Celebrities, while money-grubbing widow Courtney Love topped my list of worst human being ever. Second, what is the lasting impact of Nirvana over a decade after Cobain’s death? Does anyone, even former die-hard fans, listen to their albums anymore? Around the new millennium, the opening four chords of “Teen Spirit” could be heard sadly echoing down college dorm hallways and emanating from family basements. And now, the scruffy long-haired kids at their shows are in their twenties and thirties, with kids, careers, and car payments.There is no doubt that Nirvana was an important band. But their import may lie not so much in the public domain as inside of whichever fans can still relate to their craft.
Live! Tonight! Sold Out!! will be released to the public by Universal on November 7, 2006.
On Sunday, October 29th, The Hourly Radio played a half-hour set at Chicago’s Darkroom. I hadn’t heard of the venue before the show, since it is more of a club then a live music hot spot. The stage was situated in a rear corner, while a rectangular bar glowed red in the center of the room. The first thing I noticed was the low attendance. To the band’s dismay, the crowd never grew past 15 or 20 people. It’s easy to empathize with performers who tour the country playing shows that no one comes to. But a band has to spread its name somehow, and good old fashioned word-of-mouth by touring never hurt anyone. Luckily the band seems on the right track in the touring department. They recently shared some shows with Clap Your Hands Say Yeah and opened for a stretch of stellastarr*’s tour. It doesn’t look like anyone is pointing fingers for leeching off of buzz bands as of yet.
Aaron Closson announced a few songs in that the group is from Dallas, TX, which almost made me wish that he had a marked southern accent. Closson was on stage with Ryan Short (guitar), Adam Vanderkolk (drums), and Tim Jansen (bass). The band wore all black clothing with white lights shining on their faces. This made them look almost too serious, but then again they didn’t have much to work with as far as stage production goes. Closson has an extremely distinguishable voice that sounds exactly the same live as on CD – a noteworthy fact considering the over-produced sound of the album. However, few people still want to hear those high-pitched wavering vocals reminiscent of the emo explosion around five years ago.
It is regrettable that the band chose not to play “Travelsigns,” the opening track from History Will Never Hold Me (released on Kirtland Records on September 5th). That track’s floating guitars, washed-out synths, and crashing drums would have been a welcome change during the somewhat mundane show. “Crime Does Pay” is one of the bands tagged singles and was saved for the last portion of the show. The band’s embarrassing lyrics (“Get off / get free / get off ‘cause I miss you too”) were kept afloat by the bouncy rhythm. Granted most pop music is relatively meaningless, but some complete, intelligible phrases would not be unwelcome. On “Deaf Ears,” the band’s other single, Closson screamed “suffer to know your cold heart is to blame” without a shred of pain in his voice, like he had only witnessed heartbreak in movies.
The band emphasized their beats and vocals throughout the entire show, but failed to provide any build and release. They avoid chord changes or even the slightest bit of exploration. Instead, they prefer to keep arrangements tight, which would be beneficial if the songs were catchier. It’s much more interesting when a band can pump new elements into familiar formulas, or at least give of themselves entirely in the process. But the band sounded like they have been playing these songs for years, only to be slightly tweaked by a record label (albeit an indie one). Don’t get me wrong. Watching the band was not a completely unpleasant venture. The most enjoyable moments of the show came when the band combined power pop with a retro shimmer, like Jimmy Eat World crossed with Tears for Fears. But the band’s naïve lyrics and sleep-inducing sounds set them way back when it comes to indie credibility.
Watching the group play, I couldn’t help but think that someone had sold them a big fat lie about becoming famous on MTV. I kept asking myself questions: What is their target audience, and what are they trying to accomplish artistically and professionally? They seem to be emulating a sound and image popularized by FM radio bands like Franz Ferdinand and the Killers, but the most obvious connection is to U2 (hey, why not try to replicate the world’s most successful rock band?). Maybe the band will find a place in the frat party scene and subsequent bar star crowd. According to the band’s website, they were recently featuring in Rolling Stone’s Hot List of editor’s Top 5 Picks. But the fact that the magazine draws a comparison to My Bloody Valentine is completely unfounded and utterly offensive, regardless of whether you think Loveless is one of the best albums ever created.
As the band’s set came to a close, not much had been accomplished. The group did, however, manage to capture the attention of some Darkroom visitors dressed as our country’s founding fathers. Those fellows probably didn’t come to see The Hourly Radio (or any band), which is a testament to the group’s accessibility. The band needs to pump some passion into their craft and find new angles to approaching their influences. Then, maybe, they would create something – on album or on stage – that is a little bit more memorable.
It's an interesting outing when a live music addict gets to see not one, but two, much talked about bands on one bill. Say Hi To Your Mom's album Impeccable Blahs was released this summer on the band's own Euphobia records. A little pre-show research unveiled that the Brooklyn-based group has released three other albums, although only the new one has people saying their name repeatedly. That name may or may not have been inspired by Keanu Reeves' line in Bill And Ted's Excellent Adventure referring to Kim Basinger. The name could also have been a reflection of the American Pie term "milf." According to their website, they are named after "Midwestern dairy queen civility." Bottom line - it's catchy.
Walking into Schubas Tavern is always exciting. The wooden arches over the stage are welcoming, and the finger-smeared plaster on the ceiling is a sort of testament to the number of dedicated musicians and fans that populate the venue on a daily basis. What's more exciting is walking into the music room when it's filled to the brim. The funny thing about Chicago is that local opening bands tend to draw a bigger crowd than many headliners.
Eric Elbogen started the show with the introduction, "We're Say Hi To Your Mom," even though he was the only player on stage. With less people and equipment present, the room felt more open. "These Fangs" was among the first songs played from the new album. Elbogen smirked as he sang, "And I don't mind if you want to hide your fangs too." Those who hadn't read up on the band might not have known that their new album is about vampires (how suiting for a Friday the 13th). Most peoples' first response is to say that's cool, or unique. But is it just a gimmick to get our attention, or is it a more profound statement about human nature and the vampire-like propensities within all of us? Either way, this is the stuff of dreams for college radio stations. There is a shed of Blink 182 in the chord arrangement and general sense of playfulness, but new wave also comes to mind (think of The Knack's "My Sharona").
"Blah Blah Blah" was presented with a fresh quality reminiscent of the Postal Service, as Elbogen vowed to drink our blood over lo-fi electronica beats. "Sad, But Endearlingly So" was the closest the band came to sounding like a typical New York indie rock act. Fortunately, the shadow once cast by the Strokes has now dissipated, making room for many different sounds. One stand-out song not on the new album was "Let's Talk About Spaceships," which appeared on the 2003 album Numbers & Mumbles. The song seemed anchored in the emo craze from earlier this decade, with a fragile manner and lack of confidence that is largely missing on Impeccable Blahs.
Halfway through the show, Elbogen apologized for forgetting the words in a song. He said he usually has other people on stage, and gets a bit nervous alone. It's that endearing quality which draws people to music like this. Elbogen is not a rock star. He's just a guy with a guitar, vocal chords, and a vintage synthesizer. Unfortunately, I couldn't help but think that SHTYM would be more interesting with the backing band. That could be why the crowd slowly dwindled throughout the set.
How sad it was, because Evangelicals were about to drop a bomb of incredible sound on Schubas. The three members led by singer Josh Jones came prepared with decorations and stage props - leafy green vines, red and green flood lights shining up from the floor, and a smoke machine. Stage preparedness should be a given for folks who grew up in Norman, Oklahoma, where the "local band" was the Flaming Lips.
The band played most of the songs from their debut So Gone, which Misra released in June. On "Another Day (And You're Still Knocked Out)," the group switched between high-speed chord changes and drawn-out arpeggios, sometimes taking a silent moment to switch effects pedals. With the red light shining up from below, casting huge shadows on the walls, they resembled elves dancing around a mystical fire. For an unknown reason, Jones wore no shoe or sock on his right foot only.
Songs like "Here Comes Trouble" made obvious that they would benefit from having a fourth member to man the keyboard and synth, instead of putting bassist Kyle Davis on double duty. "Goin Down" had Davis bouncing quickly around his fretboard as Austin Stevens whipped up a storm on the drums. After only 20 minutes of playing, Jones announced that they had two more songs and almost killed the mood. It seems that they have little experience as a headline band up to this point.
Before playing "What An Actress Does Best," Jones told a story about meeting an attractive girl, only to discover too late that she's a transvestite. He claimed the point of the story was to bash dishonesty, not trannies. But for a band who might prefer to be talked about without a mention of the Flaming Lips, there are many inescapable similarities. For one, Jones has a spacey, disjointed method of speech that is a close match to Wayne Coyne's on-stage story-telling. Plus, Evangelicals' free-wheeling, psychedelic rock with country underpinnings is not far off from some of the Lips' work.
The unpredictability of their live show was established early on, but manifested wholly during "Actress." Jones broke a guitar string about 30 seconds in and stopped the band so he could grab a new guitar. That artistic choice prevented the sound from faltering, but it also inspired more people to go home. In fact, by 12:30 am there were only about 20 people left in the audience.
That said, the world might not be ready for Evangelicals. Their music evokes rainbows, waterfalls, and surface tours of the Moon. They are young and full of potential, and they have to learn how to harness all their wild energy into a steady stage performance - but they are definitely a band to watch over the next few years. As a blustery Chicago slowly turns into a winter bedroom community, shows like this will keep things moving. What a shame that only 20 people were up for the ride.
(This review was posted on thetripwire.com on 10/10/06. From now on, I'll also be posting my work for thetripwire.com on this blog. Enjoy!)
Yo La Tengo graced the stage of Chicago's Vic Theatre on October 5, 2006. This was a clutch event for a venue that only occasionally brings in such respectable bands. Anyone who saw the group perform in July at the Pitchfork Music Festival might have been worried going into this show. Unfortunately, that performance was plagued with technical issues (their playing faded in an out, and sound bled in from the other two stages). A dedicated fan gave them the benefit of the doubt, and assumed that their craft would be better suited for an indoor theatre. Luckily an opportunity to witness such an occurrence wasn't far away, and those same fans wouldn't be let down. The audience at the Vic was filled with people in their upper 20s, many of whom seemed to approach the concert as more of a gallery exhibit than a rock show. There were hardly any of Chicago's typical hipsters in the crowd. The stage was bare of any decorations - only the drums, keyboards, and stage speakers could be seen. This choice left it completely to the band to entertain. The band looked like they had vanished into a New Jersey basement sometime around 1986, only to emerge twenty years later to an underground music world that has changed a dozen times. With Ira Kaplan in jeans and red Converse sneakers, Georgia Hubley in long-sleeved striped tee, and James McNew in plaid, the attention was further placed on the music.
They quickly established their foundation of Beach Boys and Velvet Underground influences, with obvious connections to bands like Sonic Youth who also emerged in the late '80s. The show had a pleasant flow, alternating between quiet droning songs and riotous noise. On top of that, the band approached their live performance like a work of art. They talked infrequently, and instead concentrated on the minute details of their presentation. The band emphasized songs from their new Matador release, I Am Not Afraid Of You And I Will Beat Your Ass, but played a variety spanning their entire catalog. On "Pass The Hatchet, I Think I'm Goodkind," McNew thumped out his "one-two one-three one-two" bassline while Kaplan performed a sort of interpretive guitar dance - abandoning any conventional methods of playing. He pounded his whammy bar and flailed around, trying to extract whatever new noise he could. The result was phenomenal, and brought to mind what most people today can only witness on a Jimi Hendrix DVD. And this was only the second song of the concert.
The band showed the softer side of their current ass-beating campaign with songs like "Mr. Tough," which bounced with a youthful quality like the Charlie Brown theme song. Hearing the indie pop of "Stockholm Syndrome" played with such sincerity was truly fulfilling after hearing it for so many years only on their 1997 masterpiece I Can Hear The Heart Beating As One. It's always impressive to see band members play various instruments, especially when they take on each other's regular roles. The usual arrangement was Kaplan on guitar, McNew on bass, and Hubley on drums. But they changed up often, especially when Kaplan would man the keyboards. All three members had near equal singing duties, an amazing fact considering the inability of most bands to secure a single reputable vocalist.
Yo La Tengo's sound is one of a band who has completely discarded any hopes of being cool, and still blows most acclaimed bands out of the water - that means anyone on MTV or radio, but also indie critic gems that are given too much credit. They are also the ultimate indie band for staying with Matador throughout the years. They will never expect the music business to cater to them, but they discover artistic awards most bands will never know. The show was intimate, as if each member of the audience was hanging out in a living room with the band. Furthermore, a live show unveils new dimensions in their music instead of constraining the band. This is partly due to the lack of electronics that are so rampant in many currently performing bands. Where Yo La Tengo really succeeds is taking their few main musical influences, combining them with any inspiration they gather, and creating music with integrity and meaning. They prove in a single sitting that there's still some joy and wonder left in the world. The problem for most is that the joy is extremely hard to find, because it lies so deep inside. But as long as Kaplan and company keep mining that existential gold, they will hold their high seat as one of the America's greatest independent rock artists.
It looks like I won't be writing much on this blog anymore. I recently got an internship at UR Chicago Magazine in editorial journalism. Between that and still working at the animal hospital, I have about zero free time. Try to catch my work on their website (http://www.urchicago.com), and look at Noise (part of Lansing State Journal) once in a while to catch my Take Five Music column (http://hub.lsj.com). Have fun this autumn!
Tonight something happened that hadn’t happened in a while. Well, that is if six weeks (the time since Lollapalooza) is a while. But tonight, Probably Vampires, a local band who I’d never heard of, rocked my fricking socks off. Period. They have one of the most clever names I’ve heard in a while (which allows for the creepy yet captivating introduction “We are Probably Vampires”). Watching them with a clean slate caused me to draw comparisons to bands I do know. On one hand, there were moments of stoner rock that came off like a tolerable version of Queens of the Stone Age. Other times power pop reigned supreme, bringing to mind Jimmy Eat World. Finally, a guitarist resembling David Gilmour and a keyboardist sounding off like Rick Wright demonstrated an obvious devotion to the classic rock of Pink Floyd, among others. All five members had stage presence, especially lead singer Matt Ostrowski. His behavior was borderline androgynous as he shook his skinny hips and waved his hands around his long brown hair. He reminded me of Brandon Boyd, even before he ripped off his t-shirt. He also reminded me of Stillwater’s front man in the movie Almost Famous (“I find the one guy in the crowd who isn’t getting off, and I make him get off”). Two songs in, he targeted some chatting girls up front and said “Sorry to break up your sewing circle, but we’re playing a show up here.” I laughed out loud, considering the crowd was less than 30 people at that point, and not many had come to see their band. But I knew from the moment I walked in – as the guitarist rubbed a bow down the strings of his blood-red Gibson SG creating the background for a vampire-worthy, drawn-out blues track – that these guys have something special. I was convinced of that by the time of their bombastic finale, and I will definitely keep an eye on these young locals.
Probably Vampires
Second was Geoff Reacher, a solo artist who took the stage with a red flower pinned to his t-shirt (which read “Fuck Geoff Reacher”) and a distinguished cap on his head. I spent a lot of time figuring out exactly what he was doing on stage. Basically he played guitar and sang along with preprogrammed beats and synthesizers. I liked that there was no laptop to be seen, because it added mystery to the show. The bottom line is that he got the kids to dance – an impressive feat in a town like Chicago. His vocals weren’t amazing, but he had a bluesy quality not unlike Langhorne Slim. Overall, he provided something new, interesting, and fun. And to do that alone takes balls. Looking further into his work reveals a strong influence from early Flaming Lips and Beck. He actually provides support for the argument that Beck was an accident (instead of the musical genius he’s often described as).
Elf Power, the headliner, took the stage around 11:30 pm. They weren’t really the highlight of the show, but they were darn good. Their music spanned all things indie rock from the first emissions of R.E.M. to present Elefant 6 partners Of Montreal, or other orchestral indie pop collective Broken Social Scene. I kept wondering why a band like this, who has been releasing music since the early 90’s, isn’t bigger by now. Then I remembered that no one from the Elefant 6 collective gets the credit they deserve (aside from Of Montreal, who are constantly inflating). These musicians are sinking into myth and legend along with Neutral Milk Hotel and Olivia Tremor Control. The cello and occasional clarinet provided an organic feel similar to that created by the Decemberists. Furthermore, the lead singer played an electric 12-string guitar throughout the set (Colin Meloy always sticks to his acoustic). That was something I had never witnessed before. They managed to keep the audience dancing most of the time, especially on songs with a quick and steady beat. Watching their music videos on YouTube.com, I realized they are also very in tune with the Flaming Lips’ earlier work. So they may not be the best example of psychedelic indie pop around today, but I am happy to have seen them. I hope they find a place in the super-hectic new millennium music world.
The show was $10 very well spent. For three hours I felt good, forgetting about the turmoil prevalent in my life right now, and the absence of common comforts. Next I hope to make it to see Asobi Seksu at Schubas on 9/22/06. Look for my report in the days following.
Video: "Never Believe" by Elf Power, from their 2004 album Walking With The Beggar Boys (released by Orange Twin)
I should really dive into CD releases more often. This year it seems like every band I follow is releasing new music...or maybe I just follow 10 times the bands that I used to. This week I see three CD's that I'm excited about. Since I haven't heard any of them yet, I'll just share what I know.
1) Basement Jaxx - Crazy Itch Radio (XL) : Their previous three albums were superior to any international electronic artists, including Daft Punk or Chemical Brothers, if you want a bounce-off-the-walls type of party. The problem with these groups is that they constantly try to top themselves, and often fail. Basement Jaxx, though, has not had a bad moment yet. Rooty's "Do Your Thing" is THE song to lift your spirits when you hate the world, but that tone rings in all their music. Let's hope for that same power on their new album.
2) The Mars Volta - Amputechture (Universal) : So I can't completely ditch this group yet, even if Frances the Mute was one of the most arrogant albums (and difficult listens) of the decade. Also, their live album just plain sucked despite their often impressive stage performance. Maybe some noises just can't be harnessed on modern technology. I did hear via Pitchfork that someone was throwing urine at them at a live show (see video below). They deserved it though. It looks like we've got another concept album on our hands, so if you jumped ship at "De-loused" you might want to swim to shore and stay there.
3) Yo La Tengo - I Am Not Afraid Of You And I Will Beat Your Ass (Matador) : These noise rock giants are still on Matador after all these years, and that should say something about how they approach music. They will never succumb to the pitfalls that most rising bands do. They will keep to themselves and do what they do best, and let you find them and become completely obsessed with their entire catalog. Or maybe that's just how it went for me. Be warned though, it sounds like this will be a sonic "ass beating" compared to their last couple outtings (although that theory isn't well supported by this video).
The Clientele w/ Great Lakes and Canasta @ Abbey Pub – 8/30/06
Well this one is a tad overdue. My mind has been spinning at 100 mph lately, but I’ve got a spare moment to share the details of this show with you now. Canasta opened the night and made clear from the start that they are from Chicago. Imagine the worn-down, lonesome city streets in October, and you’ve got a backdrop for their sound. The vocalist is a male counterpart to Natalie Merchant, often singing in lower ranges than he’s probably capable of reaching. Their line-up included two keyboards and a violin, and the singer even puffed on a trombone during one song. The song structures were a bit static at times, but they flourished towards the end of songs when they let loose and pumped up the volume. Essentially, they turned basic pop rock into swirling craziness with edgy, rumbling drums, distorted keyboard, and an occasional five part harmony. It was pleasing, to say the least.
The touring opener was Great Lakes, a band who combines Tom Petty’s country rock, Ted Leo’s indie rock, and Everclear’s alternative. Their music often lacked dimension, and their creative shortcomings weren’t helped by poor guitar tone and mediocre vocals. I don’t mean to say that they were terrible. It’s just that their music bore no relation to the Great Lakes that I grew up near. They were blessed with the presence of The Clientele’s new member, Mel Draisey, on violin. Reading that they were spawned from the well respected Elefant 6 collective will inspire me to look into their studio recordings, but the initial live experience was not amazing.
The Clientele more or less lived up to my expectations. They had an acoustic guitarist on stage for this show only, and their new member Mel rotated between violin and piano. Watching them play, I realized what an insulated pocket they’ve created for themselves, while still keeping room to grow. At the beginning of their set they all looked forlorn, like they had all just been dumped an hour before the show. The singer apologized for using up all his witty banter in Minneapolis the night before. Although, as she show went on and the crowd warmly embraced them, the band blossomed like a flower on a sunny English countryside day. What hit me the hardest was Mel, an alarmingly beautiful Cate Blanchett look-alike with ivory skin and wavy blond hair. I was completely mesmerized by her presence. My brother David spoke with the band the following night in Detroit and discovered that she had connected with the Clientele through MySpace. So it is good for something! A few new songs were a pleasant surprise, since the band will be recording a new full length album this month. Their MySpace page says to expect something a little “funkier.” As long as that funk has something to do with Ms. Draisey, this band can count on me as a primary supporter for some time to come.
string cheese incident – bar stool (live, carnival ’99)
yonder mountain string band – town (live, mountain tracks, vol 3)
Langhorne slim – the electric love letter
sufjan stevens – Jacksonville
modest mouse – bukowski
CD 2:
the long winters – honest
the decemberists – leslie anne levine
neko case - star witness
eisley - marvelous things
band of horses – the great salt lake
jimmy eat world – if you don’t, don’t
pretty girls make graves – this is our emergency
the format – the first single
kings of convenience – I’d rather dance
phoenix – everything is everything
American analog set – punk as fuck
broken social scene – major label debut
the arcade fire – une annee sans lumiere
Benevento/russo duo – soba
Now for the moment I have been waiting for since beginning this Blogging habit. This is my personalized mix of music dedicated to my favorite season: AUTUMN. Most people love summer, but summer is too easy…and I only get sad at the lost innocence of childhood school breaks. My joy in winter is dependent on my ability to ski (something I couldn’t do last year). Spring is an anxious time that comes and goes without a real chance to take it in. But autumn…autumn to me will always be a time of new beginnings. In adolescence, it was going back to school with new classes, teachers, and friends. You got to buy new jeans and sweaters and bundle up for the increasingly chilly evenings. There was football games (even the marching band was an important part of the mix), the Homecoming Dance (although dreadful in some ways), and Halloween (complete with pumpkin patch visits and scary movie nights). The trees turn brilliant colors and the weather gets slowly cooler. It’s a refreshing change from the dog days of August. In Troy, there was the Troy Daze festival in September. Trips to the apple orchard were a must, where you could taste test in fields of trees and buy apple cider to take home. In college, autumn grew up and there was university football games with the obligatory early morning tailgates. Don’t forget the beer and hot dogs! In Spartan Ski Club there was a Fall Bash picnic with disc golf, barbecue, and of course beer. Then came the annual Hayride with a bonfire, cider (usually with rum), doughnuts, and more beer. Autumn is a sad time too, but always in a bittersweet way. The trees die in beautiful fashion. The days get shorter, but allow more nighttime for finding new romance or keeping friendly company. The breezes and rain come with distinctive pleasant smells outdoors.
As for music, there is no time of year with which I associate more music. I have a deep nostalgic connection with so much music that has graced my stereo (or iPod) over the years. Much of it is related to all those wonderful experiences previously described. And if I remember correctly, it all began (at least, for this mix) in the fall of 1997. Radiohead’s album OK Computer was released that year and often filled the space in my friend Rich’s oversized basement. Thom Yorke exclaimed “I am born again” over crisp guitars and haunting synthesizer flashes. Fiona Apple’s “Criminal” was the soundtrack to my first breakup, after my first three-month relationship (which started in September). During the year to follow, I was also listening to a lot of Dave Matthews Band, Counting Crows, and Train. What’s that? You said I’m a douche bag? Well, give me a break. I grew up in the suburbs of Detroit, remember? We’ve already covered this, so let’s get back to my story. DMB’s “#41” reminds me specifically of riding the Magic Carpet Ride at Troy Daze festival in September 1998. Train’s “If You Leave” accompanied my friends and I to an apple orchard in Romeo in October of that same year. Counting Crows’ “Daylight Fading,” although released in 1996, tickled my autumn bone two years later. Stop laughing! Mainstream bands like Counting Crows and REM paved the way for current acoustic indie bands like The Long Winters (who I’ll come back to later on). The final inclusion of my high school listening is the Foo Fighters with “Aurora” from their 1999 album There Is Nothing Left To Lose. The entire album is pure autumn, probably my favorite for the season, with its breeziness and tone of change. I really wanted to include their 1997 song “Everlong” instead, but it didn’t fit as well. That track reminds me of being driven home from a haunted house (Silo X on M-59, for those in the know) in the fall of my 9th grade year. We were only 15 and still needed to bum rides from parents. Not to mention, the Michel Gondry directed video is a sort of dreamy parody of Evil Dead and goes perfectly with the close of October.
The next group consists of songs I discovered and listened to in college. In the fall of my sophomore year, I constantly heard Jimmy Eat World blaring through the bathroom from my suitemates’ stereo (Fred Fukuzawa and Chris Hoelscher, of course). We also drove to see them at CalvinCollege in Grand Rapids that November. Yo La Tengo and Stereolab are both 90’s bands that I found sometime around junior year (remember, Yo La Tengo is the band for ALL seasons). “Autumn Sweater” kicks off the party with a patchwork of gentle percussion, organ, and bongos. Stereolab is usually more of a springtime group, but I can’t resist the strings and French vocals. I first saw the film Donnie Darko in the fall of 2002, which featured "The Killing Moon." That movie takes place in October leading up to Halloween, and the music is vital. Modest Mouse’s 2004 album Good News for People Who Love Bad News was basically a concept album about death. So what better music for the Halloween season! “Bukowski” must be about the author, but I haven’t yet read anything by him. “Leslie Anne Levine” is the first track from the first Decemberists’ LP. The 12 string acoustic guitar, accordion, and slide guitar are clutch for this time of year. I also saw them at CalvinCollege in the fall of 2004. Pretty Girls Make Graves exploded on MSU’s Impact FM around November 2004 with this flailing, last grab at autumn before winter comes. Next is a trio of amazing singles from the Impact also from fall 2004. First is The Format, with harmonies and pounding drums for those fading September afternoons. Second is Kings of Convenience, with a song I wish all their music sounded like. Think of A-ha or Tears for Fears, but with acoustic guitars and violins. Third is Phoenix, the French pop band who went from electro pop (album 1), to soft rock (album 2, with the song “Everything is Everything”), to indie pop with garage rock flavor (their 3rd album). But they capture the sadness and beauty of fall like only Frenchies can. The remainders in this group are String Cheese Incident and Yonder Mountain String Band, both progressive bluegrass jam bands who make me wish I was in Colorado for the fall.
Video: "I'd Rather Dance" by Kings of Convenience
After graduation, my source of new music was unavailable. However, I still came across some great artists. Sufjan Stevens and The Arcade Fire became my driving soundtrack while apartment searching in and moving to Chicago. Sufjan strives for complex instrumentation along the lines of Stereolab. Here he includes guitar, banjo, piano, drums, strings, etc etc. The Arcade Fire was an example of a hipster band who deserve the praise they received. “Une Annee Sans Lumiere” (I think that means a night without light, but that’s just a guess) sounds like stuffing yellow, orange, and red leaves with some pumpkin seeds into a stereo. Eisley is a family band of sorts from Texas who make haunting pop music with some of the most beautiful vocals I’ve heard in years. But they’re young and fragile, and could still become entrapped in a mainstream prison.When I was making music with my brothers, we were told by a friend that we sounded like The American Analog Set. They also draw from Stereolab’s droning sound, but have really carved their own unique place. “Punk as Fuck” is perfect rainy day music as the outdoor world inches towards winter. Thank Jesus that someone introduced me to Broken Social Scene’s self-titled album in fall 2005. I fell in love with them during the most lonely and deranged time of my life. My memories of that album, though, are of running on the indoor track at NU overlooking a frozen Lake Michigan scene. So that’s not exactly unpleasant. On “Major Label Debut,” you can almost see the season’s first snow in mid November as a family prepares for a Thanksgiving feast.
Finally comes the group of artists that I’ve been listening to this year, but appreciate more now that autumn has rolled around. I reviewed Langehorne Slim earlier on this website, but he’s a folk singer/songwriter from Brooklyn with an incurable case of the blues. Expect more banjo and acoustic guitar, with saloon-worthy vocals. Band of Horses are the current Sub Pop sensation from the northwest, with an approach like an autumnal version of My Morning Jacket’s music. The Long Winters, also from the northwest, sound like an indie version of Counting Crows. “Honest” is a heartbreaking song about a girl with a crush on the singer of a band. Neko Case is basically a country artist, but her powerful voice and lush arrangements maintain an indie quality perfect for autumn. Last but not least, Benevento/Russo Duo provide music for a winding road with overhanging trees of brilliant colors. “Soba” is a prime example, and sounds just as good on record as it did live at Lollapalooza.
Wow, that was exhausting. I just let out a huge sigh! You may be asking yourself, “Why does this guy waste so much time writing about crap that no one reads or cares about.” Well, I do it because I enjoy it. This music and these ideas are one portrait of me, and I think it’s important. I also made an edit of the Autumn Mix for those who aren’t fans of late-90’s adult alternative or bluegrass. Then I took out a few more to streamline it all, rearranged a few tracks, and PRESTO! You have a “City Friendly” or “College Radio” or “DMBlows” Autumn Mix, depending on how it fits you. Check it out:
