Back to the old Junkie "What I Did This Weekend" tradition: a lazy Sunday on which I recap the weekend's events; which I am doing at the moment because I woke up with 1) pink eye 2) a cold 3) a hyper-extended knee and 4) a hangover, and all I can do is write.
But anyway, thanks to a couple of great shows, the past couple days have been considerably less excruciating than this morning.
This Friday night started out just like most others: a capped pint of R&R and a giant styrofoam cup of Dr. Pepper ready to go, hanging out with my friends deliberating about what to do. Someone had heard that Pan was playing a house show on Village (a mere two streets away-- a valuable consideration to be made on a freezing-cold night) and more for "eye candy reasons" than "musical reasons," my troupe and I huddled together in a massive rage-train and hoofed it over to Village Street. My friend Rachel (the designated Motivator and thus, an invaluable Fest Friend) and I are all business in these kind of situations and, knowing only the street and not the actual house address, navigated on intuition alone, but somehow found the place without a hitch, and by the time the first inevitable "Where are we?" emanated from the hot mess that is my group of friends after dark, we were standing inside an awkward house full of hipsters who none of us knew.
Strangely (and somehow, not so) we soon found ourselves bonding over the house's guinea pig (who bore a strange resemblance to a panda) with said strange (i.e. unfamiliar) hipsters and it was only a matter of time before the first band Drawing Mountains began to jam. After the band's request for support in the form of money/ sexual favors they slipped timidly into their first song, leading into a slow-burner of a set that not only held my attention (a more incredible feat than you know) but put me in a kind of trance, a kind of strange and contemplative mood; I was snapped back momentarily when one of my friends tapped me on the shoulder and motioned that they were going upstairs. I stayed and spaced out to Drawing Mountains' set alone, incredibly refreshed by something I haven't heard in a really long time: genuinely good live indie rock. I've found myself going to a lot of electronic music shows lately and I don't know why. It's really the only kind of live show I've been attending (that isn't a jam band, obvs)and I've been kind of startled by that fact when I look at it. But I think the thing is that electro shows are exciting. They're more like parties than shows-- you don't go see a dubstep DJ spin to learn anything new about music or to have a musical experience, necessarily; it's more about having fun. Because a lot of really good bands lack that element in their live show: excitement. Being smart and technical about the music itself can really suck the fun and spontaneity out of a live show, and it's amazing when a band can be a good band and also play a great show that doesn't have you checking your watch before the end of the set. It shouldn't be such a rare thing.
Oh, yeah, and their gear was amazing. I've never seen anyone play a Gibson SG through an Orange rig in a basement in the student ghetto.
But anyway. Being in that basement at that show was a good thing. It felt really good, kinda like this time last year when there were basement shows every weekend and I was always there with whiskey drinks and stubbed toes (ah, nostalgia!). And something about Drawing Mountains' set, in that dark basement full of (very hip) strangers, sent me down a crazy rabbit hole of memories and thoughts that made me extremely happy and grateful to be young and alive (and no, unlike most of the show's patrons, I was not drunk, thanks to a spilling mishap). Which, to me, is the essence of a good show: when you can completely love a show even if-- especially if-- you're sober, alone, and have never heard the music before.
By the time the set was over and I returned to the real world, where my friends were bundling up to traipse to the next party, I felt like I had taken what Drama from Fantasy Factory would call a "life shower"-- equivalent to a nap, cuddling, a workout, or meditation. (And we didn't even stay to see Pan. The fuck?) Making a ridiculous scene, rolling deep and singing Aloe Blacc's "I Need a Dollar" at the top of our lungs as we walked, we ended up at some anonymous house and, in the end, the night culminated in a dance party the likes of which you've never seen. But that's just how we roll.
The following night was a little more legit and, in certain ways, considerably more memorable. Once again I found myself solo at a show: this time, at the Strutt, checking out one of my favorite bands: The Hold Steady. As you can imagine, the room was PACKED (sold out, in fact) with a surprisingly diverse crowd, mostly 20somethings and a handful of mom-and-dad-aged couples. I missed most of the opening band, and in fact am not entirely sure what their name was. But THS's set was amazing, everything I had hoped it would be (though I checked them out at Rothbury in '09, I have never actually seen them in their element: a bar) and more.
It was so good, in fact, and such a sweaty disaster of a situation, that I woke up this morning with a fairly serious eye infection. As aforementioned.
But I learned a really great tip about catching a sold-out, standing-room show, one I never, ever thought would be a good idea: wear heels. Ladies-- perhaps you already knew this, but I'm a Converse or moccasins kind of gal-- a pair of heeled (and preferably badass, as to not get your toes smashed) boots give you an amazing advantage in a male-dominated audience. I stand about 5'8 barefoot, so with a few inches of help, I push 6 feet tall and have the best proverbial seat in standing room, where ever I am. Which is gnarly for a show like the Hold Steady.
Smashing through a set that incorporated ALL of their albums (which I love!)-- rather than just pimping their most recent release, "Heaven is Whenever"-- The Hold Steady threw down their amazingly E-Streety jams and had the Strutt a bigger shitshow than I have literally ever seen it. Craig Finn's delightfully geeky stage presence made me smile and I met a lot of really cool people-- and even had a drank with WMN! staffer/ local celeb Joe Fearnley.
So I guess you could say it was a really incredible weekend. Between the shows and friends and fun, and the ultimate "Me Time" that is spacing out to shows by myself, the total misery of today is 110% worth it.
Sunday, November 21, 2010
Monday, November 08, 2010
EOTO: a force of nature
When my best friend, Nick, and I showed up to the Intersection around 8 on Sunday, I had a brief moment of panic that we had the wrong place or the wrong time. Could it be that EOTO had canceled? What other explanation could there be for the handful of hardcore kids and the excruciatingly long sound-check of the amateurish hard-rock band warming up the front stage of the Intersection? Where were all the hippies? Where was everyone-— didn’t they know this was EOTO?
Known for their killer, 100% improvised live show, “jamtronica” legends EOTO—made up of String Cheese Incident drummer and percussion player (respectively) Jason Hann and Mike Travis—almost always attract a mob scene, and we were expecting the venue to be packed to the seams; we were surprised and kind of appalled to see the venue nearly empty. Still, it was early, and I still had faith in my fellow jam-band warriors-— after all, this was EOTO. And if you’re crunchy, they will come.
Alas, the empty house and our earliness paid off in spades: as Nick and I were meandering back outside for a smoke break, out of nowhere, EOTO drummer Jason Hann strolled by, apparently looking for something, or someone. Having seen him approaching in my peripheral vision, recognizing at once his unruly curly coiffure, I knew I had to say hi. “What’s up, dude?” I said, extending my hand. His face warmed into a gracious smile as he grasped my hand and pulled me in for a bro-hug. I introduced myself and we chatted for a brief moment; I was proud of myself for containing my fan-geekiness, and refraining from reminiscing about his set with String Cheese at Rothbury ’09 (to this day, one of the best shows I’ve seen). After exchanging a moment’s worth of the typical pleasantries, Jason uttered a simple, offhand and, to me, totally amazing phrase, “We’ll throw down for ya!”
Eventually, openers Gargantua took the stage, facing off against a crowd of about 15, their faces obscured by their signature Star Trek shades. I’ve seen Gargantua throw down before (most recently, about a week ago at one of Papa Petes’ now-standard Dubstep Wednesdays) but they really didn’t bring it this time; I blame the almost total lack of an audience and general low energy of the situation (but that’s just me). Still, the crowd had increased in numbers and was even dancing a little bit by the end of the set, and it was increasingly clear that we were just getting started.
Around 10:30 (!) EOTO finally stepped up; Jason pumped his fists in the air before settling behind his drum kit, while Mike strode, in his classic silver-fox manner, to his place behind a fortress of synth and percussion equipment that towered like a steampunk time machine. I looked around me and realized that the house was now packed with jamtronica pilgrims: this stage their mecca, Mike and Jason their willing deities.
In no time at all, EOTO had the whole house raging, our glowsticks in the air like we just didn’t care. EOTO is the perfect live show for the musically- A.D.D.; their sets are a continuous and always-morphing blend of sound, borrowing from metal, reggae and “world” beats, and straight-up rock, all built on a foundation of dubsteppy techno. And even if electronica isn’t really your thing, EOTO on a technical level is truly an amazing thing to behold, their improvised sets propelled by what appears to be a twin-like ESP between Mike and Jason. Mike is a machine all his own; his drum kit, and attached mic and loop stations (with which he records the vocal parts of the songs, both original/ improvised and “borrowed:” at this show, from the likes of Steve Miller Band, Bob Marley, and Lauryn Hill, among others) are eerily like appendages; even during the requisite chaos of an EOTO set, he plays with a fluent and seemingly effortless demeanor that can only come from years (and years) of hard-won experience. To his left, Jason works his cage of keyboards, guitars, basses and drums with literally every limb, even working MIDI controllers on the floor with his bare toes; from the very front row, I watched in awe when they would make eye contact or exchange hand signals and bring the music to climactic highs, and Jason would drop a killer beat, festooned with the signature dubstep “womp,” majestically spreading his arms to the manic crowd like a techno Jesus.
And if you’ve never seen EOTO before, you might not understand that it is truly a transcendent experience. There is something about their music that seems to transports the listener through time and space; reminiscing about the times we had seen EOTO before, and anticipating them next summer at Wakarusa, Nick said it best: “It’s crazy to think that EOTO is blowing our minds in the past, present, and future!”
After their whirlwind of a set, Mike and Jason took to the crowd, lovingly exchanging hugs and high-fives with the sweaty and starry-eyed crowd; out of nowhere, Mike floated up on a cloud of silver-foxiness and all I could do was give him a big hug and thank him for throwing down for all us sinners out there.
And then it was over; Nick and I returned to the night after a dream-come-true show: having not only raged to one of the most mindblowing and inspiring live bands out there, but meeting two of the most talented (and unbelievably nice) dudes on tour right now. And though we all had a magical time dancing the night away, make no mistake: this ain’t no disco; EOTO is more than dance music, it’s a force of nature.
[run by the greatest and best site in the world, West Michigan Noise, on 11/08/10]
Known for their killer, 100% improvised live show, “jamtronica” legends EOTO—made up of String Cheese Incident drummer and percussion player (respectively) Jason Hann and Mike Travis—almost always attract a mob scene, and we were expecting the venue to be packed to the seams; we were surprised and kind of appalled to see the venue nearly empty. Still, it was early, and I still had faith in my fellow jam-band warriors-— after all, this was EOTO. And if you’re crunchy, they will come.
Alas, the empty house and our earliness paid off in spades: as Nick and I were meandering back outside for a smoke break, out of nowhere, EOTO drummer Jason Hann strolled by, apparently looking for something, or someone. Having seen him approaching in my peripheral vision, recognizing at once his unruly curly coiffure, I knew I had to say hi. “What’s up, dude?” I said, extending my hand. His face warmed into a gracious smile as he grasped my hand and pulled me in for a bro-hug. I introduced myself and we chatted for a brief moment; I was proud of myself for containing my fan-geekiness, and refraining from reminiscing about his set with String Cheese at Rothbury ’09 (to this day, one of the best shows I’ve seen). After exchanging a moment’s worth of the typical pleasantries, Jason uttered a simple, offhand and, to me, totally amazing phrase, “We’ll throw down for ya!”
Eventually, openers Gargantua took the stage, facing off against a crowd of about 15, their faces obscured by their signature Star Trek shades. I’ve seen Gargantua throw down before (most recently, about a week ago at one of Papa Petes’ now-standard Dubstep Wednesdays) but they really didn’t bring it this time; I blame the almost total lack of an audience and general low energy of the situation (but that’s just me). Still, the crowd had increased in numbers and was even dancing a little bit by the end of the set, and it was increasingly clear that we were just getting started.
Around 10:30 (!) EOTO finally stepped up; Jason pumped his fists in the air before settling behind his drum kit, while Mike strode, in his classic silver-fox manner, to his place behind a fortress of synth and percussion equipment that towered like a steampunk time machine. I looked around me and realized that the house was now packed with jamtronica pilgrims: this stage their mecca, Mike and Jason their willing deities.
In no time at all, EOTO had the whole house raging, our glowsticks in the air like we just didn’t care. EOTO is the perfect live show for the musically- A.D.D.; their sets are a continuous and always-morphing blend of sound, borrowing from metal, reggae and “world” beats, and straight-up rock, all built on a foundation of dubsteppy techno. And even if electronica isn’t really your thing, EOTO on a technical level is truly an amazing thing to behold, their improvised sets propelled by what appears to be a twin-like ESP between Mike and Jason. Mike is a machine all his own; his drum kit, and attached mic and loop stations (with which he records the vocal parts of the songs, both original/ improvised and “borrowed:” at this show, from the likes of Steve Miller Band, Bob Marley, and Lauryn Hill, among others) are eerily like appendages; even during the requisite chaos of an EOTO set, he plays with a fluent and seemingly effortless demeanor that can only come from years (and years) of hard-won experience. To his left, Jason works his cage of keyboards, guitars, basses and drums with literally every limb, even working MIDI controllers on the floor with his bare toes; from the very front row, I watched in awe when they would make eye contact or exchange hand signals and bring the music to climactic highs, and Jason would drop a killer beat, festooned with the signature dubstep “womp,” majestically spreading his arms to the manic crowd like a techno Jesus.
And if you’ve never seen EOTO before, you might not understand that it is truly a transcendent experience. There is something about their music that seems to transports the listener through time and space; reminiscing about the times we had seen EOTO before, and anticipating them next summer at Wakarusa, Nick said it best: “It’s crazy to think that EOTO is blowing our minds in the past, present, and future!”
After their whirlwind of a set, Mike and Jason took to the crowd, lovingly exchanging hugs and high-fives with the sweaty and starry-eyed crowd; out of nowhere, Mike floated up on a cloud of silver-foxiness and all I could do was give him a big hug and thank him for throwing down for all us sinners out there.
And then it was over; Nick and I returned to the night after a dream-come-true show: having not only raged to one of the most mindblowing and inspiring live bands out there, but meeting two of the most talented (and unbelievably nice) dudes on tour right now. And though we all had a magical time dancing the night away, make no mistake: this ain’t no disco; EOTO is more than dance music, it’s a force of nature.
[run by the greatest and best site in the world, West Michigan Noise, on 11/08/10]
Friday, November 05, 2010
The Ten.
In Michigan, we got our first snowfall, sending me on a downward spiral of uncomfortably grown-up desperation, manifest in somewhat panicky refrains of "where did 2010 go?!"
My tendency to interpret time and life in music means that my memories of this year are mostly cast in sunlit images of too-hot days at festivals, too-cold nights fastwalking home from shows in bars and basements, marveling at the pretty lights (namedrop) that swirled at shows too plentiful to count. I am truly lucky and so stoked to have been alive this year to witness the amazing music that I've seen, and live the incredible life that I have lived this year...
But still, the question remains. (Where did the time go? Where DOES time go?! I'm buggin'...) And the dwindling of this particular year, an awkward decade-straddler, is sending the compartmentalizing, sorting, OCD side of me into a frenzy, and I'm seeing this year, even more than last year, as the end of an era.
From 2000 to today has seen an absurdly dramatic shift in nearly every aspect of life on planet Earth. Never before has time been so precious, in the sense that everything changes so quickly, and in such mindblowing ways. I realized this the other day when, at work, I found myself passive-aggressively "suggesting" that someone update his software, as his was from "two thousand three" and he was having trouble opening documents I was sending to him-- seven years? Really? Are we flying through technology at such a breakneck speed that we literally cannot communicate in terms that span seven years?
And so we radioheads, with our proclivity to communicate in terms of albums, songs, and, now, playlists (I fought it too, but let's be real) must try to make sense of it all. And we shall.
I remember the last song I heard of the 90s, the #1 song of 1999: Xtina's "Genie in a Bottle." Oh, the humanity of the 90s-- the hot trainwreck that was pop music in the late 90s, when all the music world wanted was a numb reprieve from the tension of the music of Kurt Cobain, Tupac, and Biggie Smalls, and then from the pain of their passing. And that's what we got: genies in bottles, granting wishes of schmaltzy braindead pop poured from pretty lips (on a less comical and slightly more cerebral level, the post-grunge of The Presidents, Weezer, and They Might Be Giants, the quenching jams of Phish and DMB, and so on).
In "The 2000s" (still so awkward!)-- the space between the harried, Y2K-fearing existence we knew in the last hours of the truly unfathomable 20th century, and now-- we knew what we wanted: we were a million uncertain pauper Jacks searching for the sonic equivalent of our magical beans, trying to grow not just miracles, but a sense of well-being that we didn't know where else to find: the collective fear and frightening uncertainty and finality of 9/11, the trauma of the Bush administration, a battery of natural and humanitarian disasters... all we wanted was an ephemeral moment of painlessness.
So why, then, was the music of the 2000s some of the most emotional and aware that we have ever seen? Why were we so competitive with one another as listeners; why were we engaged in an arms race for the esoteric? Why did we need to be the first to hear the new "emo" in high school (in my generation), and, when we grew up, the new "indie" bands?
And what the fuck is indie anyway?
But let's not go too far down that rabbit hole. I think one thing we can say for sure is that the music-- all of it-- of the 2000s, focused on catharsis. After all, in this decade, we felt just as much loss as in the 90s: we mourned our sad hero Elliott Smith, and lost legends like Ray Charles and Johnny Cash (and that other guy... what was his name? Michael something). We found ways to soothe our aching bodies, hearts and souls; we found ways to quell the sometimes desperate fear that gripped us when we watched Hurricane Katrina; the Christmas Tsunami; the toppling of a stone Saddam; American flags flying high over obliterated landscapes.
All the while, our shiny, white iTunes screens gave us something beautiful and organized, and pumped inexplicable bliss into our headphoned ears. Chris Carrabba reminded us that love was pain and could be consumingly soothing; Adam Lazzara screamed the same truths that Chris whispered. Widespread Panic, String Cheese Incident and Umphrey's McGee sought jam refugees still hurting from Jerry's passing, dissatisfied with the placid and harmless approach of Dave Matthews; and even he upped the ante on "Stand Up." Rock took a serious hit with the dominion of bands like Ni*kleba*k (I refuse to print their name in its entirety) and Kid Rock's self-proclaimed deity status (rock and roll Jesus you are not, sir), but rose to the occasion with new classics like the Black Keys and Kings of Leon. The weirdoes and nerds found their voices in a plethora of genres, styles, and sounds called Indie, and even they were cool (for the time being). And there we were, discussing it, loving it, hyper-analyzing and over-sophisticating music, making sure we dotted and crossed the proverbial i's and t's and downright KNEW everything there was to know. Some of us even became convinced that we could, and should, make a career of it. (...)
But that's what we had to do to survive the 2000s. Because, let's face it. We're scared. We all are. I don't even watch TV anymore because I am so perplexed, appalled, and frightened by the world around me. I know, by osmosis, that Katy Perry got married to Russell Brand last weekend and that Rhianna couldn't go because she had a busy work schedule, and effectively fired her entire staff because it was their fault for scheduling her work. I HATE THAT I KNOW THAT. And I hate that everyone knows that and does not know the first thing about what's going on in their own country, and in the world, as evidenced by the facts of the midterm election which took place on Tuesday-- which saw a record LOW turnout of the young voters; that's right, us, the same ones who stood up for Barack Obama, the same ones who pursued the overturn of Prop 8 and the very same people who will fight to the death for their opinions in stoned, late-night, living-room conversations.
But we were a part of something amazing this decade-- amazing, in its many forms and connotations both good and bad. And that's because we-- as listeners, as musicians, as participants in the greater musical "scene" and movement-- ARE history in the making. If music is our catharsis, our safe place, so be it. This is a crazy time and it's ok to need something to hold on to. Love what you love, and love it well, but make sure that the places that you hide are up to you; the ways in which you hide are up to you; and don't let it be an excuse to numb yourself to the world around you. I mean... if we learned anything from the 90s, it should be just that; using music to numb the pain is ok. Hell, it's even good. But let's keep the genies in their bottles and start making our wishes come true ourselves... musically, politically, or whatever.
My tendency to interpret time and life in music means that my memories of this year are mostly cast in sunlit images of too-hot days at festivals, too-cold nights fastwalking home from shows in bars and basements, marveling at the pretty lights (namedrop) that swirled at shows too plentiful to count. I am truly lucky and so stoked to have been alive this year to witness the amazing music that I've seen, and live the incredible life that I have lived this year...
But still, the question remains. (Where did the time go? Where DOES time go?! I'm buggin'...) And the dwindling of this particular year, an awkward decade-straddler, is sending the compartmentalizing, sorting, OCD side of me into a frenzy, and I'm seeing this year, even more than last year, as the end of an era.
From 2000 to today has seen an absurdly dramatic shift in nearly every aspect of life on planet Earth. Never before has time been so precious, in the sense that everything changes so quickly, and in such mindblowing ways. I realized this the other day when, at work, I found myself passive-aggressively "suggesting" that someone update his software, as his was from "two thousand three" and he was having trouble opening documents I was sending to him-- seven years? Really? Are we flying through technology at such a breakneck speed that we literally cannot communicate in terms that span seven years?
And so we radioheads, with our proclivity to communicate in terms of albums, songs, and, now, playlists (I fought it too, but let's be real) must try to make sense of it all. And we shall.
I remember the last song I heard of the 90s, the #1 song of 1999: Xtina's "Genie in a Bottle." Oh, the humanity of the 90s-- the hot trainwreck that was pop music in the late 90s, when all the music world wanted was a numb reprieve from the tension of the music of Kurt Cobain, Tupac, and Biggie Smalls, and then from the pain of their passing. And that's what we got: genies in bottles, granting wishes of schmaltzy braindead pop poured from pretty lips (on a less comical and slightly more cerebral level, the post-grunge of The Presidents, Weezer, and They Might Be Giants, the quenching jams of Phish and DMB, and so on).
In "The 2000s" (still so awkward!)-- the space between the harried, Y2K-fearing existence we knew in the last hours of the truly unfathomable 20th century, and now-- we knew what we wanted: we were a million uncertain pauper Jacks searching for the sonic equivalent of our magical beans, trying to grow not just miracles, but a sense of well-being that we didn't know where else to find: the collective fear and frightening uncertainty and finality of 9/11, the trauma of the Bush administration, a battery of natural and humanitarian disasters... all we wanted was an ephemeral moment of painlessness.
So why, then, was the music of the 2000s some of the most emotional and aware that we have ever seen? Why were we so competitive with one another as listeners; why were we engaged in an arms race for the esoteric? Why did we need to be the first to hear the new "emo" in high school (in my generation), and, when we grew up, the new "indie" bands?
And what the fuck is indie anyway?
But let's not go too far down that rabbit hole. I think one thing we can say for sure is that the music-- all of it-- of the 2000s, focused on catharsis. After all, in this decade, we felt just as much loss as in the 90s: we mourned our sad hero Elliott Smith, and lost legends like Ray Charles and Johnny Cash (and that other guy... what was his name? Michael something). We found ways to soothe our aching bodies, hearts and souls; we found ways to quell the sometimes desperate fear that gripped us when we watched Hurricane Katrina; the Christmas Tsunami; the toppling of a stone Saddam; American flags flying high over obliterated landscapes.
All the while, our shiny, white iTunes screens gave us something beautiful and organized, and pumped inexplicable bliss into our headphoned ears. Chris Carrabba reminded us that love was pain and could be consumingly soothing; Adam Lazzara screamed the same truths that Chris whispered. Widespread Panic, String Cheese Incident and Umphrey's McGee sought jam refugees still hurting from Jerry's passing, dissatisfied with the placid and harmless approach of Dave Matthews; and even he upped the ante on "Stand Up." Rock took a serious hit with the dominion of bands like Ni*kleba*k (I refuse to print their name in its entirety) and Kid Rock's self-proclaimed deity status (rock and roll Jesus you are not, sir), but rose to the occasion with new classics like the Black Keys and Kings of Leon. The weirdoes and nerds found their voices in a plethora of genres, styles, and sounds called Indie, and even they were cool (for the time being). And there we were, discussing it, loving it, hyper-analyzing and over-sophisticating music, making sure we dotted and crossed the proverbial i's and t's and downright KNEW everything there was to know. Some of us even became convinced that we could, and should, make a career of it. (...)
But that's what we had to do to survive the 2000s. Because, let's face it. We're scared. We all are. I don't even watch TV anymore because I am so perplexed, appalled, and frightened by the world around me. I know, by osmosis, that Katy Perry got married to Russell Brand last weekend and that Rhianna couldn't go because she had a busy work schedule, and effectively fired her entire staff because it was their fault for scheduling her work. I HATE THAT I KNOW THAT. And I hate that everyone knows that and does not know the first thing about what's going on in their own country, and in the world, as evidenced by the facts of the midterm election which took place on Tuesday-- which saw a record LOW turnout of the young voters; that's right, us, the same ones who stood up for Barack Obama, the same ones who pursued the overturn of Prop 8 and the very same people who will fight to the death for their opinions in stoned, late-night, living-room conversations.
But we were a part of something amazing this decade-- amazing, in its many forms and connotations both good and bad. And that's because we-- as listeners, as musicians, as participants in the greater musical "scene" and movement-- ARE history in the making. If music is our catharsis, our safe place, so be it. This is a crazy time and it's ok to need something to hold on to. Love what you love, and love it well, but make sure that the places that you hide are up to you; the ways in which you hide are up to you; and don't let it be an excuse to numb yourself to the world around you. I mean... if we learned anything from the 90s, it should be just that; using music to numb the pain is ok. Hell, it's even good. But let's keep the genies in their bottles and start making our wishes come true ourselves... musically, politically, or whatever.
Miracles are real.
I'm calling the Vatican, or Linus from the Peanuts Gang, or Tom Cruise or something, because SOMEONE was right-- God, the Great Pumpkin, L. Ron Hubbard or someone is looking out for me on this miraculous Halloween evening. About this time last week, my beloved Sony Vaio (complete with stickers... I loved it... it was an appendage) inexplicably crashed, apparently due to a faulty hard drive. Maybe I was receiving a karmic ass-kicking for sins unknown; maybe it was just one of those swift-kick-in-the-teeth from fate-- regardless, I promised all aforementioned (and more) deities that if somehow, my Vaio returned unscathed from the teeth of the esoteric "service center" outlined in my warranty, that I would write a column immediately and not stop writing ever, because I would be so grateful to have my laptop back (yes-- I went quite crazy without a machine into which to vent my constant musings).
And while that did NOT happen, I not only magically FOUND my old, dead laptop AND its power cord, but hoping against hope, I pushed the power button and the old dusty POS coughed and sputtered its way back to life like a Baywatch extra after receiving some sexy CPR.
So here it is... my first (miraculous) of what will hopefully be many posts in the coming days. I'm thinking it was You, Great Pumpkin. I always believed in you!
Expect mad posts in the coming days. (Mad= many; not angry).
Much love,
Meg.
And while that did NOT happen, I not only magically FOUND my old, dead laptop AND its power cord, but hoping against hope, I pushed the power button and the old dusty POS coughed and sputtered its way back to life like a Baywatch extra after receiving some sexy CPR.
So here it is... my first (miraculous) of what will hopefully be many posts in the coming days. I'm thinking it was You, Great Pumpkin. I always believed in you!
Expect mad posts in the coming days. (Mad= many; not angry).
Much love,
Meg.
Friday, October 22, 2010
Fall '10. In a word: Crunchy.
...and I'm not talking about the leaves.
Deja vu? Yes-- that was (kind of) the title of my column in West Michigan NOISE! this month; and though I fear being redundant, I'm going to do a slight follow-up to that...
but only because I'm SO excited about the jam scene right now. Not just in town, but everywhere. It seems like the entire national scene, maybe even the world, is becoming obsessed with jam bands-- especially electro-jam (and straight up (loop/sample-based) electronica-- commonly known as "techno"-- as well), dubstep, and house music. And the bands dominating the movement-- EOTO, Umphrey's McGee, Bassnectar, Pretty Lights, Rebelution etc-- are gracing West Michigan stages this fall.
Umphrey's is rocking out Kzoo State Theatre TONIGHT (10/22) and I COULD NOT BE MORE EXCITED. The Pontiffs Maximus of jam, these guys bring the heat to any venue they play and bring mind-blowing, face-melting, (insert-really-good-rock-show-platitude-here) sets every time. I pride myself on knowing a thing or two about a good live show (no ego-- I just care), and these guys are it. *It. The next generation of movements spurred by The Grateful Dead, Allman Brothers, Gov't Mule, Widespread Panic, etc, we might just be witnessing history in the making with Umph's. Move over, WP, there are some new Boys in town.
State Theatre is not known for its rock-shows. It often favors more mellow acts (I've caught Ryan Adams and the incomparable Merle Haggard there before); perhaps because of the size, the layout, the classy decor, or any number of variables....... however, head to GR and you have a plethora of rowdier venues that were built to rock. Example: the Intersection. Housing bands of every persuasion, this venue is known for packing fans in to the seams and turning up the volume into one sweaty jam fest. And this fall, the Intersection is bringing us the bands to quench our thirst for electro-jam and dubstep: already home to acts like SuperDre, it's bringing in Rebelution tomorrow (10/23), dubstep legend Bassnectar the following week (10/29) and one of my top 5 favorite live acts of all time: EOTO!!!!!!!!! (on 11/07).
So check it out. And like I always say: don't forget your dancin' shoes.
Deja vu? Yes-- that was (kind of) the title of my column in West Michigan NOISE! this month; and though I fear being redundant, I'm going to do a slight follow-up to that...
but only because I'm SO excited about the jam scene right now. Not just in town, but everywhere. It seems like the entire national scene, maybe even the world, is becoming obsessed with jam bands-- especially electro-jam (and straight up (loop/sample-based) electronica-- commonly known as "techno"-- as well), dubstep, and house music. And the bands dominating the movement-- EOTO, Umphrey's McGee, Bassnectar, Pretty Lights, Rebelution etc-- are gracing West Michigan stages this fall.
Umphrey's is rocking out Kzoo State Theatre TONIGHT (10/22) and I COULD NOT BE MORE EXCITED. The Pontiffs Maximus of jam, these guys bring the heat to any venue they play and bring mind-blowing, face-melting, (insert-really-good-rock-show-platitude-here) sets every time. I pride myself on knowing a thing or two about a good live show (no ego-- I just care), and these guys are it. *It. The next generation of movements spurred by The Grateful Dead, Allman Brothers, Gov't Mule, Widespread Panic, etc, we might just be witnessing history in the making with Umph's. Move over, WP, there are some new Boys in town.
State Theatre is not known for its rock-shows. It often favors more mellow acts (I've caught Ryan Adams and the incomparable Merle Haggard there before); perhaps because of the size, the layout, the classy decor, or any number of variables....... however, head to GR and you have a plethora of rowdier venues that were built to rock. Example: the Intersection. Housing bands of every persuasion, this venue is known for packing fans in to the seams and turning up the volume into one sweaty jam fest. And this fall, the Intersection is bringing us the bands to quench our thirst for electro-jam and dubstep: already home to acts like SuperDre, it's bringing in Rebelution tomorrow (10/23), dubstep legend Bassnectar the following week (10/29) and one of my top 5 favorite live acts of all time: EOTO!!!!!!!!! (on 11/07).
So check it out. And like I always say: don't forget your dancin' shoes.
Thursday, October 14, 2010
[50]
Yes, this is the 50th post. Not such a big deal (especially since I should have had 50 posts like...... six months ago... you still love me, right?)
Good, 'cause I love you. For reading this and any other shenanigans (WMN! October issue is on newsstands... er countertops, floors, wherever people will let us stash them...) that I force upon you. And so this is dedicated to you, for reading this 50th post (and maybe some of the other 49).
This is really hard and as I'm beginning to write this, the only thing I'm asking myself is how? How are you doing this? And why? but, alas, my Top 50 Artists Right Now (and, in some cases, their stories (as they pertain to me)). (Each will include a songpick and the album on which it appears).
Deep breath in. Here goes. In absolutely no order whatsoever:
50.) Jurassic-5. I had never heard of J5 before I checked out my very first Dave Matthews Band show at the Tweeter Center (now it's named after some cell phone carrier... sad). I was 17 and not into hip-hop at the time, but I was instantly magnetized to the energetic 6-piece (the "5" in their name is a mystery... at least to me) and fell in love with their dancey, old-school beats.
("In The House" from Feedback)
49.) DJ Mark Farina. Mark Farina created one of the most fluent, masterful and ambitious compilations I've ever heard: Mushroom Jazz. Mushroom Jazz is a 5-volume work of art, created by layering a smooth, hip-hop backbeat with jazz and ambient elements and samples. I can't really explain it. But basically if you want almost six hours straight of hip-hop/jazz/ occasional nature sounds and voices (for whatever reason you so choose) from danceable to straight-up chill, you've got it. Mushroom Jazz. The best thing ever.
("Chali 2na Comin' Thru"-Mushroom Jazz V (link not available)... yes, Chali 2na from J5.)
48.) Big Boi. He just put out a solo album this year: Sir Lucious Leftfoot: The Son of Chico Dusty... which is The Shit. I always like to ask people who they like better, Andre or Big... I say Big. Andre is wackier but I think Big's style is often smarter and he has so much to say. I love that a lot of his work is conceptual and character-based; I love the stories you get through his rhymes.
("Tangerine" -SLFL:tSoCD; "The Way You Move"--Speakerboxx (tie))
47.) Outkast. Can I do this? I'm going to. Because I LOVE OUTKAST and I couldn't forget about Andre. Speakerboxx/ The Love Below is my generation's Tommy. I said it. Hootie-hooo!
(title track from Southernplayalisticadillacmuzik... I didn't feel like typing it twice)
46.) The Roots. You might be noticing a pattern. Yes, I love hip hop. And yes, I'm considering another Hip-Hop Week. Thoughts? Anyway... my friend Phil said it best... LyricsBorn is one of the most underrated poets ever. And ?uestlove is the most master of some of the most freakishly intoxicating beats I have ever heard. ever. And I promise you I'm not being dramatic when I say that heir new album "How I Got Over" is nothing short of lifechanging.
(I can't help but choose "Seed 2.0" from Phrenology.... If you don't have Phrenology, GET IT; THIS IS ESSENTIAL.)
45.) Fruit Bats: a band I discovered about this time last year. And what a year it's been (at least as far as my Fruit Bats journey goes)-- I've gone from "hey I kinda like the sound of this" to seeing them twice this past year, collecting their albums in any form-- ie, mp3 and vinyl, obvs-- I can get my hands on and discovering nothing but a perfect band and what is, to me, a pretty flawless body of work.
("The Earthquake of '73" from Spelled in Bones.)
44.) Mumford and Sons. This is a newer band from London and their album "Sigh No More" is incredible, kind of traditional western-European folk (think, like.... bluegrass + Irish drinking-and-dancing music. Kind of like the band at the steerage-class party in Titanic. Wow..?)
("Little Lion Man" --Sigh No More. Built around the amazing refrain "I really fucked it up this time, didn't I, my dear?" Watch out for your mind getting blown around 3:29)
43.) Pretty Lights. Probably one of the most exciting artists in modern electronic music right now. And daaamn, I've never seen a party like his live show.
("High School Art Class"--Spilling Over Every Side [EP]... which is available for free at prettylightsmusic.com. 2:44 might be the best moment in any song, ever.)
42.) Wilco. No explanation necessary.
("Either Way"-- Sky Blue Sky. I listen to this album pretty much every single morning. It goes really well with sleepy eyes, socks and hot coffee.)
41.) Umphrey's McGee. The. Best. Live. Show. In. America. Maybe in the world.
(this is some footage of them rocking "Jajunk (pt II)" at Rothbury '09. I was there (no big deal or anything. Only the #1 greatest night of my life) and, according to my calculations, very near to whomever shot this video.)
40.) Beatles. What can I say?
(Lately I can't stop listening to "You Never Give Me Your Money/ Sun King/ Mean Mr. Mustard/ Polythene Pam/ She Came In Through The Bathroom Window/ Golden Slumbers/ Carry That Weight" from Abbey Road... yes, I think of those as one song. And I have a feeling that if you asked any of the Beatles, they'd say the same thing.)
39.) Death Cab for Cutie.
("I Will Follow You Into the Dark"-- Plans. What?)
38.) Black Keys. A killer garage-blues duo from Ohio who I discovered at the downtown Water Street Coffee Joint. They were playing "Rubber Factory" and I had to ask the barista what they were listening to because it was soooo, so good. Rubber Factory is a classic, but they have only gotten better since then. And I got to see them for the first time at Wakarusa in June.... incredible.
("Psychotic Girl"-- Attack and Release)
37.) Damien Rice. His voice gives me chills.
("Delicate" from O. This is an an incredible live recording of it)
36.) The Weakerthans. In my heart of hearts, they are my Favorite Band. But I'm always kind of afraid to say that. The way I feel about designating the Weakerthans as my favorite-band-of-favorite-bands is kind of like when you know you love someone and you can't tell them: admitting it would be a huge and maybe even lifelong commitment that I wasn't ready for, so I just chose not to. Until now. John K Samson, you have my soul.
("The Last Last One" from Fallow. No link available but it's worth the download. Promise.)
35.) Gorillaz. Another band with a flawless body of work.
("Feel Good Inc." --Demon Days. Maybe a little cliche... but it's a perfect song.)
34.) Dave Matthews Band. I always feel really ignorant when I say this, but I love Dave Matthews Band. I love his studio work, I love his live recordings and I love going to his shows. And I was really sad when LeRoi died.
("Lie In Our Graves" --Crash. Check out this version with the majestic Tim Reynolds)
33.) STS9. Another completely lifechanging electro act.... you've probably heard me raving about their Wakarusa '10 set. I saw them at Rothbury '09 and while it was amazing, it in no way prepared me for their Waka set. I have never seen a crazier audience having a better time anywhere, at any time, and though it was such a surreal thing thinking about the thousands of kids dancing together on top of a mountain, it was probably one of the top 5 sets I've ever seen by any band.
(Please experience it.)
32.) EOTO. AKA (to me) "The Silver Fox Electo Band." One of the best live acts anywhere. PS, it stands for "End of Time Observatory." Built around String Cheese Incident's demise... when the music industry closes a door, it always opens a window.
(Not picking a song, because that would undermine their improv-only live show policy... Improv-only? How can you even have that much swagger?)
31.) Crosby, Stills, Nash and Young. When I was a kid, I had a dog (Sandy) who would sing along to "Suite: Judy Blue Eyes." And while that's as amazing as it as adorable, who can blame her? CSNY is some of the most singalong-worthy music ever. It just makes you feel good.
("Helplessly Hoping" --So Far. Some of the most beautiful vocal harmonies in pop music. I think.)
30.) John Mayer. HE SHREDS AND YOU KNOW IT.
("Who Did You Think I Was?" --John Mayer Trio's live album "Try!"
29.) Weezer. Hall of Fame? Where is the love for this band?
("My Name is Jonas" --Blue. The soundtrack to my adolescence.)
28.) The Killers. What a fucking ridiculously good band.
("When You Were Young"--Sam's Town.)
27.) The Shins. Thanks, Natalie Portman; they really did change my life.
("Phantom Limb" --Wincing the Night Away. A fantastic song with a really unforgettable video..)
26.) Cee Lo. Gnarls Barkley? Awesome. Solo work? Even moreso. When Umphrey's covered this at North Coast Fest, it felt as though the Universe was saying, "hey Meg Alexander, your favorite band covering your favorite song? Done. You get one moment like this in your life and this is it. Life's a garden, dig it."
("Fuck You"-- EP/ single. Could it be any better?)
25.) Manchester Orchestra. A band with more originality, vulnerability and depth than pretty much any other. Sadly, I think we've seen their demise... although Manchester has teamed up with Kevin Devine (the Bob Dylan of the indie generation) for a new project dubbed Bad Books. So... lookout for that.
("Wolves at Night"-- I'm Like a Virgin Losing a Child)
24.) Phish. I fought it for a really long time. I don't know what happened but one day I just totally caved and fell in love with these guys. And bear with me because I know how it sounds. I really do. But if you listen to this band, it's impossible not to geek out to their superhuman musicianship and their trippy nonsensical whimsicality. (Trey Anastasio's solo album "Shine" is also amazing. Obvi)
("Cavern" -- A Picture of Nectar.)
23.) Motion City Soundtrack. This is another band I feel kind of weird about liking. But their jams are so goddamn infectious, I haven't really stopped listening to them since high school.... And though they're fun to listen to at home or out driving around or whatever, I have to say that they put on a terrible live show. I saw them in GR last winter and it was not "terrible" necessarily but just really forgettable. Still gotta love 'em though.
("Everything is Alright" --Commit This To Memory. Even if it's not your style, you have to admit this is an example of a perfect pop song.)
22.) Modest Mouse. The best music to escape with. When I put on "Good News for People Who Love Bad News" it's like a 45-minute vacation. And everything else they've ever done is pretty flawless, too.
("Dashboard" -We Were Dead Before The Ship Even Sank. "A wonderful rock and roll band" says David Letterman!)
21.) Lauryn Hill. I don't really listen to girl singers most of the time, but Lauryn is amazing. I don't know how I knew about her as a kid, but I remember "The Miseducation of Lauryn Hill" was one of the first CDs I ever bought. I got it at Barnes and Noble, which means it was like $30. Where did I get $30 when I was a kid? I don't have $30 now...
And even though her voice is gorgeous and most people would still listen to her even if she just sang, Lauryn is probably one of the best chick rappers out there. That she integrates polysyllabic words makes her that much better than most of the rappers out there now....
("I Get Out"--MTV Unplugged)
20.) The Fugees. Once again, this might be cheating buuuuut.... couldn't forget about Wyclef. And that other guy.
("The Score"-- the Score)
19.) Presidents of the United States of America. I hate to use the word "underrated" but if there's anyone who is more underrated than Weezer, it's P.U.S.A. An aggressively original and downright weird band, everything I've ever heard by this band speaks to me in its own spazzy way.
("We Are Not Going To Make It" --self-titled. No link :( ) <--awkward
18.) The Decemberists. As you can see I really like bands who have singers with unusual voices. Colin Meloy's nasally, red-headed-stepchild of a voice is at the heart of the Decemberists' sound and, although it's what makes a lot of people dislike the Decemberists, I think he's awesome. Kinda the same way I feel about the Weakerthans' John K Samson...
("Red Right Ankle" --Her Majesty (this video is actually really cool))
17.) The Hold Steady. When you listen, you can't help but have fun. I saw them at Rothbury 09, and even though it was in the middle of a reeeally hot day, it was still a party and everybody there RTFO'd. Craig Finn, you fucking badass.
("Sequestered In Memphis" --Stay Positive)
16.) The Black Crowes. One of my most beloved bands of all time. Their most recent album, "Warpaint" is an instant classic, but unfortunately didn't get a lot of attention. If you read about it, it also has a lot of cool stories; the last track "Whoa Mule" was recorded live, outside, on top of a mountain in upstate New York. And it is the shit. You can hear birds singing in the beginning and everything...
I think the real reason I like them is because Chris Robinson reminds me so much of Jeff from Stillwater (Jason Lee's character in Almost Famous...)
(enjoy this cool version of "Goodbye Daughters of the Revolution" from Warpaint)
15.) Oasis.
"Don't Look Back In Anger" --What's the Story Morning Glory
14.) Fleetwood Mac. Reminds me of being a kid, when my dad would drive me to horseback riding lessons (was that a really pretentious memory?)
("Dreams" --Rumours..... kicks the shit out of every song ever written)
13.) Person L. The Starting Line's Kenneth Vasoli created his own label to work on a new project, the ever-changing Person L. Though they only released one album (2008's "Initial") it kicks ass.
("Storms"-- I was addicted to this song aaaall summer.)
12.) Bob Dylan. The man, the myth, the legend. WHO, I might add, is coming to Kzoo (the 29th, I think?) to play at... Miller Auditorium? What thaaaa
11.) Toto. For some reason I got waaaay too into Toto this summer. But what's not to love? Some of the most ultra-smooth tunes ever and the delightful croon of Bobby Kimball? Yes please. Toto is the perfect band to listen to in ANY situation: chilling out at home, going for a walk or a drive, or enjoying some daytime porch beers with your crew... Timeless.
("Rosanna" --Toto IV... Pretty fabulous music video.)
10.) Mott the Hoople. Why, yes, I did know about this band before Juno.
("All The Young Dudes" thanks David Bowie!)
9.) Belle and Sebastian. Does this make me a hipster?
("I'm a Cuckoo" --Dear Catastrophe Waitress)
8.) Kings of Leon. Still not over "Only By The Night."
("Crawl." Hypnotizing.)
7.) Jimi Hendrix. For some reason I've been on a Jimi Hendrix kick lately. I discovered Jimi Hendrix the fall of my freshman year of high school and now I always want to listen to him in the fall.
("Voodoo Child (Slight Return)" --Electric Ladyland)
6.) Bob Seger. I'm a Detroit kid at heart; I can't help it. And "Live Bullet" is one of the best live albums ever.
("Jody Girl," the live version from Cobo Hall in '75)
5.) Elton John. One of the greatest songwriters ever. That's all there is to say.
("Burn Down The Mission" --Tumbleweed Connection. I love when he gets gospelly.)
4.) Amos Lee. I always feel kind of corny when I listen to Amos Lee but his smooth, southern panache and his heartfelt style get me every time. Oh yeah... and he has a pretty sick set of pipes. I haven't heard anyone sing with as much carefree skill and subtle passion in... ever. I can space out and listen to "Supply and Demand" several times in a row before I realize how much time has gone by. His self-titled debut is also incredible...
("Southern Girl" --Supply and Demand. I couldn't make it through a day this summer without listening to this song. When I was having a moment like "should I go get groceries right now? It's so late... but I need milk" all I had to think about to talk myself into it was that I could listen to Amos Lee with the windows down and the drive alone would be worth it.)
3.) Steely Dan. I'm an old lady at heart, and I love me some Steely Dan. SO SMOOTH!
What a lot of people don't think about when they think of Steely Dan is their songwriting. SD has a propensity to write songs that are deceivingly simple or happy when really there's a lot of artistic weight and emotional depth to a lot of their work. For example: "Deacon Blues" is one of the saddest songs ever written. To me, anyway. But it sounds so easygoing on the surface. To me, that's what a well-written song is: the slow-burners, the ones you can listen to recreationally and not just when you're doing something else, and really think about.
("Reelin' In The Years" --Can't Buy a Thrill (you need this album on vinyl))
2.) Blues Traveler. My top 5 reasons for liking Blues Traveler:
-That time they were in Blues Brothers 2000. (you're welcome...)
-I grew up in the 90s. I like Hootie and the Blowfish too
-I work at a Top 40 radio station and "Hook," is in the rotation occasionally, and is literally the only song I ever hear that I even halfway like over the course of a work-week.
-Bloody-Mary-flavored memories of a sunny afternoon set at Wakarusa '10
-John Popper is SUPERHUMAN.
("Stand"--Four)
1.) Broken Bells. The newly formed collaboration between the Shins' James Mercer and Danger Mouse (producer extraordinnaire) is my biggest musical obsession of 2010, and maybe ever. Their self-titled album is one of the best things I have ever heard; it shot straight to "classic" status with one listen and has not been out of my rotation since then. From the foggy trudge of the single, "The High Road," to toe-tapping dance beats mixed with ambient indie, to the climactic rush of the album's closer, the fantastic, spacey suite "The Mall and Misery," this album is flawless.
("The Ghost Inside" --Broken Bells)
And there you have it.
Rage on, and thanks so much for reading, dudes and dudettes.
Much love,
Meg [thevolumejunkie]
Good, 'cause I love you. For reading this and any other shenanigans (WMN! October issue is on newsstands... er countertops, floors, wherever people will let us stash them...) that I force upon you. And so this is dedicated to you, for reading this 50th post (and maybe some of the other 49).
This is really hard and as I'm beginning to write this, the only thing I'm asking myself is how? How are you doing this? And why? but, alas, my Top 50 Artists Right Now (and, in some cases, their stories (as they pertain to me)). (Each will include a songpick and the album on which it appears).
Deep breath in. Here goes. In absolutely no order whatsoever:
50.) Jurassic-5. I had never heard of J5 before I checked out my very first Dave Matthews Band show at the Tweeter Center (now it's named after some cell phone carrier... sad). I was 17 and not into hip-hop at the time, but I was instantly magnetized to the energetic 6-piece (the "5" in their name is a mystery... at least to me) and fell in love with their dancey, old-school beats.
("In The House" from Feedback)
49.) DJ Mark Farina. Mark Farina created one of the most fluent, masterful and ambitious compilations I've ever heard: Mushroom Jazz. Mushroom Jazz is a 5-volume work of art, created by layering a smooth, hip-hop backbeat with jazz and ambient elements and samples. I can't really explain it. But basically if you want almost six hours straight of hip-hop/jazz/ occasional nature sounds and voices (for whatever reason you so choose) from danceable to straight-up chill, you've got it. Mushroom Jazz. The best thing ever.
("Chali 2na Comin' Thru"-Mushroom Jazz V (link not available)... yes, Chali 2na from J5.)
48.) Big Boi. He just put out a solo album this year: Sir Lucious Leftfoot: The Son of Chico Dusty... which is The Shit. I always like to ask people who they like better, Andre or Big... I say Big. Andre is wackier but I think Big's style is often smarter and he has so much to say. I love that a lot of his work is conceptual and character-based; I love the stories you get through his rhymes.
("Tangerine" -SLFL:tSoCD; "The Way You Move"--Speakerboxx (tie))
47.) Outkast. Can I do this? I'm going to. Because I LOVE OUTKAST and I couldn't forget about Andre. Speakerboxx/ The Love Below is my generation's Tommy. I said it. Hootie-hooo!
(title track from Southernplayalisticadillacmuzik... I didn't feel like typing it twice)
46.) The Roots. You might be noticing a pattern. Yes, I love hip hop. And yes, I'm considering another Hip-Hop Week. Thoughts? Anyway... my friend Phil said it best... LyricsBorn is one of the most underrated poets ever. And ?uestlove is the most master of some of the most freakishly intoxicating beats I have ever heard. ever. And I promise you I'm not being dramatic when I say that heir new album "How I Got Over" is nothing short of lifechanging.
(I can't help but choose "Seed 2.0" from Phrenology.... If you don't have Phrenology, GET IT; THIS IS ESSENTIAL.)
45.) Fruit Bats: a band I discovered about this time last year. And what a year it's been (at least as far as my Fruit Bats journey goes)-- I've gone from "hey I kinda like the sound of this" to seeing them twice this past year, collecting their albums in any form-- ie, mp3 and vinyl, obvs-- I can get my hands on and discovering nothing but a perfect band and what is, to me, a pretty flawless body of work.
("The Earthquake of '73" from Spelled in Bones.)
44.) Mumford and Sons. This is a newer band from London and their album "Sigh No More" is incredible, kind of traditional western-European folk (think, like.... bluegrass + Irish drinking-and-dancing music. Kind of like the band at the steerage-class party in Titanic. Wow..?)
("Little Lion Man" --Sigh No More. Built around the amazing refrain "I really fucked it up this time, didn't I, my dear?" Watch out for your mind getting blown around 3:29)
43.) Pretty Lights. Probably one of the most exciting artists in modern electronic music right now. And daaamn, I've never seen a party like his live show.
("High School Art Class"--Spilling Over Every Side [EP]... which is available for free at prettylightsmusic.com. 2:44 might be the best moment in any song, ever.)
42.) Wilco. No explanation necessary.
("Either Way"-- Sky Blue Sky. I listen to this album pretty much every single morning. It goes really well with sleepy eyes, socks and hot coffee.)
41.) Umphrey's McGee. The. Best. Live. Show. In. America. Maybe in the world.
(this is some footage of them rocking "Jajunk (pt II)" at Rothbury '09. I was there (no big deal or anything. Only the #1 greatest night of my life) and, according to my calculations, very near to whomever shot this video.)
40.) Beatles. What can I say?
(Lately I can't stop listening to "You Never Give Me Your Money/ Sun King/ Mean Mr. Mustard/ Polythene Pam/ She Came In Through The Bathroom Window/ Golden Slumbers/ Carry That Weight" from Abbey Road... yes, I think of those as one song. And I have a feeling that if you asked any of the Beatles, they'd say the same thing.)
39.) Death Cab for Cutie.
("I Will Follow You Into the Dark"-- Plans. What?)
38.) Black Keys. A killer garage-blues duo from Ohio who I discovered at the downtown Water Street Coffee Joint. They were playing "Rubber Factory" and I had to ask the barista what they were listening to because it was soooo, so good. Rubber Factory is a classic, but they have only gotten better since then. And I got to see them for the first time at Wakarusa in June.... incredible.
("Psychotic Girl"-- Attack and Release)
37.) Damien Rice. His voice gives me chills.
("Delicate" from O. This is an an incredible live recording of it)
36.) The Weakerthans. In my heart of hearts, they are my Favorite Band. But I'm always kind of afraid to say that. The way I feel about designating the Weakerthans as my favorite-band-of-favorite-bands is kind of like when you know you love someone and you can't tell them: admitting it would be a huge and maybe even lifelong commitment that I wasn't ready for, so I just chose not to. Until now. John K Samson, you have my soul.
("The Last Last One" from Fallow. No link available but it's worth the download. Promise.)
35.) Gorillaz. Another band with a flawless body of work.
("Feel Good Inc." --Demon Days. Maybe a little cliche... but it's a perfect song.)
34.) Dave Matthews Band. I always feel really ignorant when I say this, but I love Dave Matthews Band. I love his studio work, I love his live recordings and I love going to his shows. And I was really sad when LeRoi died.
("Lie In Our Graves" --Crash. Check out this version with the majestic Tim Reynolds)
33.) STS9. Another completely lifechanging electro act.... you've probably heard me raving about their Wakarusa '10 set. I saw them at Rothbury '09 and while it was amazing, it in no way prepared me for their Waka set. I have never seen a crazier audience having a better time anywhere, at any time, and though it was such a surreal thing thinking about the thousands of kids dancing together on top of a mountain, it was probably one of the top 5 sets I've ever seen by any band.
(Please experience it.)
32.) EOTO. AKA (to me) "The Silver Fox Electo Band." One of the best live acts anywhere. PS, it stands for "End of Time Observatory." Built around String Cheese Incident's demise... when the music industry closes a door, it always opens a window.
(Not picking a song, because that would undermine their improv-only live show policy... Improv-only? How can you even have that much swagger?)
31.) Crosby, Stills, Nash and Young. When I was a kid, I had a dog (Sandy) who would sing along to "Suite: Judy Blue Eyes." And while that's as amazing as it as adorable, who can blame her? CSNY is some of the most singalong-worthy music ever. It just makes you feel good.
("Helplessly Hoping" --So Far. Some of the most beautiful vocal harmonies in pop music. I think.)
30.) John Mayer. HE SHREDS AND YOU KNOW IT.
("Who Did You Think I Was?" --John Mayer Trio's live album "Try!"
29.) Weezer. Hall of Fame? Where is the love for this band?
("My Name is Jonas" --Blue. The soundtrack to my adolescence.)
28.) The Killers. What a fucking ridiculously good band.
("When You Were Young"--Sam's Town.)
27.) The Shins. Thanks, Natalie Portman; they really did change my life.
("Phantom Limb" --Wincing the Night Away. A fantastic song with a really unforgettable video..)
26.) Cee Lo. Gnarls Barkley? Awesome. Solo work? Even moreso. When Umphrey's covered this at North Coast Fest, it felt as though the Universe was saying, "hey Meg Alexander, your favorite band covering your favorite song? Done. You get one moment like this in your life and this is it. Life's a garden, dig it."
("Fuck You"-- EP/ single. Could it be any better?)
25.) Manchester Orchestra. A band with more originality, vulnerability and depth than pretty much any other. Sadly, I think we've seen their demise... although Manchester has teamed up with Kevin Devine (the Bob Dylan of the indie generation) for a new project dubbed Bad Books. So... lookout for that.
("Wolves at Night"-- I'm Like a Virgin Losing a Child)
24.) Phish. I fought it for a really long time. I don't know what happened but one day I just totally caved and fell in love with these guys. And bear with me because I know how it sounds. I really do. But if you listen to this band, it's impossible not to geek out to their superhuman musicianship and their trippy nonsensical whimsicality. (Trey Anastasio's solo album "Shine" is also amazing. Obvi)
("Cavern" -- A Picture of Nectar.)
23.) Motion City Soundtrack. This is another band I feel kind of weird about liking. But their jams are so goddamn infectious, I haven't really stopped listening to them since high school.... And though they're fun to listen to at home or out driving around or whatever, I have to say that they put on a terrible live show. I saw them in GR last winter and it was not "terrible" necessarily but just really forgettable. Still gotta love 'em though.
("Everything is Alright" --Commit This To Memory. Even if it's not your style, you have to admit this is an example of a perfect pop song.)
22.) Modest Mouse. The best music to escape with. When I put on "Good News for People Who Love Bad News" it's like a 45-minute vacation. And everything else they've ever done is pretty flawless, too.
("Dashboard" -We Were Dead Before The Ship Even Sank. "A wonderful rock and roll band" says David Letterman!)
21.) Lauryn Hill. I don't really listen to girl singers most of the time, but Lauryn is amazing. I don't know how I knew about her as a kid, but I remember "The Miseducation of Lauryn Hill" was one of the first CDs I ever bought. I got it at Barnes and Noble, which means it was like $30. Where did I get $30 when I was a kid? I don't have $30 now...
And even though her voice is gorgeous and most people would still listen to her even if she just sang, Lauryn is probably one of the best chick rappers out there. That she integrates polysyllabic words makes her that much better than most of the rappers out there now....
("I Get Out"--MTV Unplugged)
20.) The Fugees. Once again, this might be cheating buuuuut.... couldn't forget about Wyclef. And that other guy.
("The Score"-- the Score)
19.) Presidents of the United States of America. I hate to use the word "underrated" but if there's anyone who is more underrated than Weezer, it's P.U.S.A. An aggressively original and downright weird band, everything I've ever heard by this band speaks to me in its own spazzy way.
("We Are Not Going To Make It" --self-titled. No link :( ) <--awkward
18.) The Decemberists. As you can see I really like bands who have singers with unusual voices. Colin Meloy's nasally, red-headed-stepchild of a voice is at the heart of the Decemberists' sound and, although it's what makes a lot of people dislike the Decemberists, I think he's awesome. Kinda the same way I feel about the Weakerthans' John K Samson...
("Red Right Ankle" --Her Majesty (this video is actually really cool))
17.) The Hold Steady. When you listen, you can't help but have fun. I saw them at Rothbury 09, and even though it was in the middle of a reeeally hot day, it was still a party and everybody there RTFO'd. Craig Finn, you fucking badass.
("Sequestered In Memphis" --Stay Positive)
16.) The Black Crowes. One of my most beloved bands of all time. Their most recent album, "Warpaint" is an instant classic, but unfortunately didn't get a lot of attention. If you read about it, it also has a lot of cool stories; the last track "Whoa Mule" was recorded live, outside, on top of a mountain in upstate New York. And it is the shit. You can hear birds singing in the beginning and everything...
I think the real reason I like them is because Chris Robinson reminds me so much of Jeff from Stillwater (Jason Lee's character in Almost Famous...)
(enjoy this cool version of "Goodbye Daughters of the Revolution" from Warpaint)
15.) Oasis.
"Don't Look Back In Anger" --What's the Story Morning Glory
14.) Fleetwood Mac. Reminds me of being a kid, when my dad would drive me to horseback riding lessons (was that a really pretentious memory?)
("Dreams" --Rumours..... kicks the shit out of every song ever written)
13.) Person L. The Starting Line's Kenneth Vasoli created his own label to work on a new project, the ever-changing Person L. Though they only released one album (2008's "Initial") it kicks ass.
("Storms"-- I was addicted to this song aaaall summer.)
12.) Bob Dylan. The man, the myth, the legend. WHO, I might add, is coming to Kzoo (the 29th, I think?) to play at... Miller Auditorium? What thaaaa
11.) Toto. For some reason I got waaaay too into Toto this summer. But what's not to love? Some of the most ultra-smooth tunes ever and the delightful croon of Bobby Kimball? Yes please. Toto is the perfect band to listen to in ANY situation: chilling out at home, going for a walk or a drive, or enjoying some daytime porch beers with your crew... Timeless.
("Rosanna" --Toto IV... Pretty fabulous music video.)
10.) Mott the Hoople. Why, yes, I did know about this band before Juno.
("All The Young Dudes" thanks David Bowie!)
9.) Belle and Sebastian. Does this make me a hipster?
("I'm a Cuckoo" --Dear Catastrophe Waitress)
8.) Kings of Leon. Still not over "Only By The Night."
("Crawl." Hypnotizing.)
7.) Jimi Hendrix. For some reason I've been on a Jimi Hendrix kick lately. I discovered Jimi Hendrix the fall of my freshman year of high school and now I always want to listen to him in the fall.
("Voodoo Child (Slight Return)" --Electric Ladyland)
6.) Bob Seger. I'm a Detroit kid at heart; I can't help it. And "Live Bullet" is one of the best live albums ever.
("Jody Girl," the live version from Cobo Hall in '75)
5.) Elton John. One of the greatest songwriters ever. That's all there is to say.
("Burn Down The Mission" --Tumbleweed Connection. I love when he gets gospelly.)
4.) Amos Lee. I always feel kind of corny when I listen to Amos Lee but his smooth, southern panache and his heartfelt style get me every time. Oh yeah... and he has a pretty sick set of pipes. I haven't heard anyone sing with as much carefree skill and subtle passion in... ever. I can space out and listen to "Supply and Demand" several times in a row before I realize how much time has gone by. His self-titled debut is also incredible...
("Southern Girl" --Supply and Demand. I couldn't make it through a day this summer without listening to this song. When I was having a moment like "should I go get groceries right now? It's so late... but I need milk" all I had to think about to talk myself into it was that I could listen to Amos Lee with the windows down and the drive alone would be worth it.)
3.) Steely Dan. I'm an old lady at heart, and I love me some Steely Dan. SO SMOOTH!
What a lot of people don't think about when they think of Steely Dan is their songwriting. SD has a propensity to write songs that are deceivingly simple or happy when really there's a lot of artistic weight and emotional depth to a lot of their work. For example: "Deacon Blues" is one of the saddest songs ever written. To me, anyway. But it sounds so easygoing on the surface. To me, that's what a well-written song is: the slow-burners, the ones you can listen to recreationally and not just when you're doing something else, and really think about.
("Reelin' In The Years" --Can't Buy a Thrill (you need this album on vinyl))
2.) Blues Traveler. My top 5 reasons for liking Blues Traveler:
-That time they were in Blues Brothers 2000. (you're welcome...)
-I grew up in the 90s. I like Hootie and the Blowfish too
-I work at a Top 40 radio station and "Hook," is in the rotation occasionally, and is literally the only song I ever hear that I even halfway like over the course of a work-week.
-Bloody-Mary-flavored memories of a sunny afternoon set at Wakarusa '10
-John Popper is SUPERHUMAN.
("Stand"--Four)
1.) Broken Bells. The newly formed collaboration between the Shins' James Mercer and Danger Mouse (producer extraordinnaire) is my biggest musical obsession of 2010, and maybe ever. Their self-titled album is one of the best things I have ever heard; it shot straight to "classic" status with one listen and has not been out of my rotation since then. From the foggy trudge of the single, "The High Road," to toe-tapping dance beats mixed with ambient indie, to the climactic rush of the album's closer, the fantastic, spacey suite "The Mall and Misery," this album is flawless.
("The Ghost Inside" --Broken Bells)
And there you have it.
Rage on, and thanks so much for reading, dudes and dudettes.
Much love,
Meg [thevolumejunkie]
Wednesday, October 13, 2010
Ghosts of the Great Lakes "Erasing You" Review
Within minutes of playing Ghosts of the Great Lakes’ latest release, “Erasing You,” for the first time, there’s a moment that might startle you, might haunt you, and will almost certainly give you chills: when the ferocious guitar riff on the title track stomps on the ambient whispers of its instrumental predecessor “Coral,” it says just one thing: Ghosts of the Great Lakes is back.
Over a year after their debut, “The Death of the Party,” the Kalamazoo four-piece-- known for their vintage-glam aesthetic almost as much as their sullen hard-rock-- returned with an album showcasing the influence of the band’s two new members (drummer Jesse Blankenship and bassist Ben Bojanich) while maintaining its signature blend of pensive, melodic verses and rampant choruses ignited by vocalist Benny West’s primal howl.
The title track best exemplifies the band’s evolution: the mix of classic Ghosts sound, with the sensibility of mainstream rock of Jimmy Eat World, AFI and Incubus, “Erasing You” does not disappoint. From there, Ghosts forge ahead into esoteric, albeit familiar territory, with imagery of substance abuse, death, abandonment, memories of a tormented youth, and-- of course-- fashion (“Cause I feel more/ wrapped in Dior,” West croons at one point). The subject matter provokes the nagging feeling that not only would some songs fit in just fine on their debut (Hiding in Plain Sight) but some are downright disturbing with familiarity (for example, Speed of Night soundalike The Chelsea).
While these might incite suspicions that Ghosts have rested on the laurels of the success of their debut, not only does some material dive to depths previously unexplored by Ghosts-- for example, the wrist-slittingly dark track “Monster,” built around West half-whispering, half-growling “cause I’m a bad kid, a bad kid”-- but some conquers new musical territory, almost to the point of an entire new persona for the band, most effectively on the addictive dance-rock gem “In Case You’re Wondering.” This conquest comes full-circle at the climactic end of the album, “Armed to the Teeth,” which features a galloping guitar melody that detonates into a tremendously powerful chorus.
With sullen introspection, anthemic hard-rock, and unexpected exploration of their “upbeat” side, “Erasing You” is the journey that “Death of the Party” wanted to be, giving listeners the indulgent melodrama that we have learned to crave from Ghosts of the Great Lakes, but this time, with heart-stopping energy, raw power, and even a reason to dance.
Over a year after their debut, “The Death of the Party,” the Kalamazoo four-piece-- known for their vintage-glam aesthetic almost as much as their sullen hard-rock-- returned with an album showcasing the influence of the band’s two new members (drummer Jesse Blankenship and bassist Ben Bojanich) while maintaining its signature blend of pensive, melodic verses and rampant choruses ignited by vocalist Benny West’s primal howl.
The title track best exemplifies the band’s evolution: the mix of classic Ghosts sound, with the sensibility of mainstream rock of Jimmy Eat World, AFI and Incubus, “Erasing You” does not disappoint. From there, Ghosts forge ahead into esoteric, albeit familiar territory, with imagery of substance abuse, death, abandonment, memories of a tormented youth, and-- of course-- fashion (“Cause I feel more/ wrapped in Dior,” West croons at one point). The subject matter provokes the nagging feeling that not only would some songs fit in just fine on their debut (Hiding in Plain Sight) but some are downright disturbing with familiarity (for example, Speed of Night soundalike The Chelsea).
While these might incite suspicions that Ghosts have rested on the laurels of the success of their debut, not only does some material dive to depths previously unexplored by Ghosts-- for example, the wrist-slittingly dark track “Monster,” built around West half-whispering, half-growling “cause I’m a bad kid, a bad kid”-- but some conquers new musical territory, almost to the point of an entire new persona for the band, most effectively on the addictive dance-rock gem “In Case You’re Wondering.” This conquest comes full-circle at the climactic end of the album, “Armed to the Teeth,” which features a galloping guitar melody that detonates into a tremendously powerful chorus.
With sullen introspection, anthemic hard-rock, and unexpected exploration of their “upbeat” side, “Erasing You” is the journey that “Death of the Party” wanted to be, giving listeners the indulgent melodrama that we have learned to crave from Ghosts of the Great Lakes, but this time, with heart-stopping energy, raw power, and even a reason to dance.
Monday, August 16, 2010
"How I Spent My Summer Vacation"
Last night I experienced the moment that I experience for one moment every year, and spend the rest of the year thinking about. I was driving and although it was only about 8 pm, and the sun was still shining, I felt just the slightest chill as the balmy wind blew over the skin on my arms. Right then, a gust of wind from the west sent a flurry of leaves tumbling across Westnedge in front of me, and it was undeniable: summer is on its way out.
To be fair, it's barely halfway through August and I hope this doesn't inspire that creepy, panicky feeling of impending Winter, but it's happening all around us. Summer's almost over. And, like every year since elementary school when I would make ambitious lists of things I wanted to do or accomplish over the summer (go camping. draw a lot. have a garage sale. save $50. Wait, these are still my summer goals.) I find myself evaluating what I really did and really accomplished this summer.
Fortunately-- or unfortunately, depending on how you look at it-- for me, I was unemployed for most of the summer (which you might have read on my Myspace blog). While this severely limited my possibilities due to financial constraints and the enormous amount of time and energy I put into finding a job (which I luckily found... at the beginning of August.) the freedom I experienced was enormously transformative in a number of ways: for one, the gift of spontaneity. And this was valuable in one major way: I went to a LOT of shows, many of which were unbelievably last-minute and, some might say, poorly planned. But that's how I like to roll.
So, this year, the question I ask myself as I feel the Chill descend over Kalamazoo is this: was it really worth it? Sleeping away the most beautiful hours of the most beautiful days we see in Michigan? Depleting my savings, my brain cells and every ounce of my bodily energy to travel across the Midwest-- across the country, in some cases-- to go to shows? Splitting my commitment-less days both writing, and agonizing about how much writing I wasn't doing? The highs and lows, all the luck and misadventures: was it really worth it?!
In a word: yes.
Some highlights:
-Wakarusa Music Festival. The Festie that started it all (this summer, anyway). If you've been reading my MySpace blog, you'll know that Waka was the (in?)direct cause of my unemployment this summer (that and a mega-bitch named Pattie; yes, with an "ie"). And if you've talked to me for more than ten minutes this summer, you've probably heard all about it.
Waka. I'm just now realizing I have not written about it at all. I think it was just too enormous an experience for me to even try to articulate. I'm going to take a deep breath and do my best to pocket-size it for you:
My roommate Nick and my good friends Alex and Rachel crammed in my Vibe with a weekend's worth of supplies and took off for Arkansas one sunny morning in early June. We arrived at Mulberry Mountain nearly 20 hours later, having braved torrential thunderstorms for most of the drive and experienced a plethora of victories and setbacks alike. Setting up camp (the four of us, plus our friend Agata, her twin sis Anna and their buddy Zach, a new friend of ours and, we would find out, the embodiment of the word "party") we had no idea what we were in for: several days of INTENSE Southern summer heat (most of which we beat by escaping the site, driving down the mountain, swimming and napping on the banks of the Mulberry River) and, of course, some truly lifechanging shows.
The one the comes to mind: STS9. If you are into any electronic music at all, I am sure you've heard of (and probably even like) STS9. On the second night of the festival, STS9 headlined, blowing our minds for several hours from Mainstage. If I don't wrap this up in one sentence, I will be here talking for hours: This show was truly one of the greatest gifts I have ever received.
The next night at Waka was probably the thing I had anticipated and built up in my mind the most, mainly because My Band, Umphrey's McGee, was playing a night show (they had played the previous night; a daylight set at Mainstage, which was good but not overwhelmingly so). I was "that guy" for the entire drive down and few days leading to this show: talking my poor friends' ears off about how Umphrey's is "the best live show in America;" "the most mindblowing shit you'll ever see;" etc etc etc. Unfortunately, I had become separated from my friends by the time Umphrey's took the stage (due to an enormously long and enormously unpublishable story, or set of stories) and spent the show front and center, literally, with other equally vigilant Umphrey's devotees: new friends who supplied me with water and other refreshments and, though I was in the wake of a partied-out moment, I was able to rally and had the time of my life (I even appear on the concert DVD of that show. Available on UMlive.com.). With the help of my new friends (and, not to mention, The Boys From Chicago) I truly came back to life. And, silly me, I didn't even know I wasn't living yet. Which is why I love-- LOVE-- festies. And Umphrey's.
But that is really what Wakarusa, as a whole, did: bring me to life. I re-discovered when I was there what it meant to have fun and enjoy life, and how little it truly takes (in the way of material things, sanitary conditions, etc) to thrive and love your life.
-Shows About Town
The walkability of Kalamazoo in the summer, as opposed to any time of year, is remarkable and lends itself incredibly well to various show-crawls. And yes, I think of them as show-crawls and not bar crawls. Why not go catch bluegrass at Bell's, indie at the Strutt and rock and Papa Pete's And hell, why not a basement show at the end there? And if I was getting REALLY crazy, why not work in a jam sesh of my very own?!
So that's exactly what I tried to do. And like I say, my funds were limited due to my job status, but we're lucky we live in a city where cover charges are seldom over $5 to begin with, and sometimes you can get in cheap-- or even free-- by showing up late. And while I'm not advocating this, as I believe fervently in supporting local bands and venues, it's not always impossible to slide in without paying a cover. Just sayin'.
It was my pleasure to catch a variety of Kalamazoo bands this summer; among my favorites:
--Re-renderings of some of my classic favorites-- namely, the new facade of Ender (they're acoustically delicious!) and Their Teeth Will Be of Lions, with their newly-solo frontwoman Jay Dykehouse.
--Elm Street Riot. Easily one of my favorite Kalamazoo bands.
--Kathryn Tapper. This new(er) chick on the block graced the first Kzoo NOISE! showcase at Old Dog; I was truly impressed and entertained.
--Brandon Mann and the Reprimand. Brandon Mann: He's everywhere you want to be and more. In case you haven't noticed, Kalamazoo NOISE! loves BM&TR, and I am no exception.
--Small Town Son. Alright, alright. I know I talk all the time about how I don't like country. But seeing them one balmy night at Old Dog, Oberon in hand, out on the patio right at dusk, I actually really enjoyed their good-ol'-boy swag, and their covers that even I knew. Oh, and they have a fiddle player who totally shreds.
--Speaking of country: Brother Bill. There has been some controversy surrounding my review of Brother Bill's album, "Wild On The Whiskey," due to a then-anonymous commentor's disagreement with, and, I think, misunderstanding of what I was trying to say (which happens in this medium! and is my fault for my colorful, and sometimes irresponsible, word choices). And allow me to set the record straight: I REALLY LIKE IT! I ALWAYS HAVE! So when I caught them at Harvey's one night, I half expected a little tension between me and at least one of the fellas in the band. But luckily for me, their personalities are as easygoing and good-natured as their music, and everyone was really cool to me. It wasn't until later that I realized that in my review, and/or subsequent comment thread, I promised them all Jim Beam shots, and didn't deliver. Awful. If you're reading this, Brothers, next time-- sorry!
-More Umphrey's
Yes, I am an "Umphreys Fan." This fandom is unlike any I've ever experienced. I feel like I am actually addicted to Umphreys shows. There is truly nothing-- nothing.-- in the world that makes me happier than being at an Umphrey's show: pressed up against the foot of the stage, jamming hard; spaced-out, sober, or anywhere inbetween. There's nothing like having not a single care in the world because your "world" doesn't exist outside of the show. That's what seeing Umphreys is like for me.
And I know you're probably smirking at the very least right now and might even have a slew of anti-"hippie jam band" thoughts in mind, your hand twitching in reckless anticipation of clicking the "Comment" button and unleashing a diatribe in which Trey, Dave, or-- God forbid-- Jerry, could become casualities at any moment. Or maybe not, because if you don't know I love hippie jam bands, you have no business here.
Just kidding. But seriously.
Anyway, Umphrey's. The two shows Umphrey's played at Waka did not satisfy, but only stoked, my desire to go to Umphrey's shows. All. Summer. Since I first saw them last summer at Rothbury, my heart had ached to be at another Umphrey's show. I don't know what it is about their live show, but like I say, there's one main word that comes to mind: addicting. And if you ask anyone who's ever been to an Umphrey's show, they will say the same thing. Not to mention, almost anyone I've ever played Umphreys' music around has asked who they were and if I could burn them some. So anyway. I'm just saying, don't knock it 'til you've heard it. And seen it.
But, in my observation, Umphrey's is more popular EVERY SUMMER, playing more shows on a wider plane to bigger, and more enthusiastic, audiences. And to be honest, I love it. But to be just as honest: in a selfish way, I kind of wish they were still the Midwest phenomenon that they used to be; I wish they still played Papa Pete's and needed couches to crash on in Kzoo (!). I wish I could walk up to them after shows and ask them if they wanted to hang out and talk and listen to Frank Zappa records on vinyl and drink tea in my living room. But, alas, they are far too cool-- and I am far too uncool-- for that to happen. But I can dream.
Alas, I caught them twice at Waka; once in Ohio; and once for a VERY crunchy and extremely beautiful double-set at Frederik Meijer Gardens in Grand Rapids. All were incredible, my favorite of which was the latter. On a hot, windy, gorgeous night, right at sunset, they threw down a truly unstoppable set, including one of my all-time Umphrey's faves, "Gulf Stream" (which, though it's not one they play very often, I called in the requisite drive-up-to-the-show set-prediction game) and a soul-satisfying cover of Toto's "Africa" which still makes me smile when I think about it.
-Land of Nod
Ah, Land of Nod. If you read my rundown "Going Gonzo in the Land of Nod" on my MySpace (friends only; sorry! friend-request me if you wanna read it and can't.) then you already know everything that happened in those crazy, crazy 5 days I was involved with/ attending the fest.
Unfortunately, there isn't a whole lot about music mentioned in that piece (I know; what?). It was really more about the experience. Which is really what Nod was to me. The lineup was so-so in the first place (aside from some killer headliners) and one of my most anticipated acts, Boombox (who we caught at Waka) was CANCELED. Bummer.
However, I got to see not one, but TWO, sets by the incomparable Big Gigantic! The synth/ horn electro act (the brainchild of Dominic Lalli, aka my dream man) blew my mind on the Saturday of the fest, backdropped by the most glorious sunset I have ever seen in my life. If you are into electro at all and don't know Big G, please oh please check him out. It'll be so worth it.
For me, the highpoint of the music at Nod was noneother than Kool Keith. Another show for which I was determined to be front-and-center (although there were probably only 500 or so people in attendance, so it was all too easy), KK (who moonlighted as his trippier alter-ego, Dr. Octagon) was everything I'd always imagined a Kool Keith show to be like.
So, yes, realistically, the summer is almost over. BUT: as always, there's plenty more to come. From up-and-coming local bands, to some big acts we're anticipating in Kzoo (for one, Ali Baba's Tahini; if you haven't heard of them, please search; I would just tell you but wouldn't that be anti-climacitc?) we are sure to be in the presence of some really amazing music in the coming days and months.
See you out there,
Meg [thevolumejunkie]
To be fair, it's barely halfway through August and I hope this doesn't inspire that creepy, panicky feeling of impending Winter, but it's happening all around us. Summer's almost over. And, like every year since elementary school when I would make ambitious lists of things I wanted to do or accomplish over the summer (go camping. draw a lot. have a garage sale. save $50. Wait, these are still my summer goals.) I find myself evaluating what I really did and really accomplished this summer.
Fortunately-- or unfortunately, depending on how you look at it-- for me, I was unemployed for most of the summer (which you might have read on my Myspace blog). While this severely limited my possibilities due to financial constraints and the enormous amount of time and energy I put into finding a job (which I luckily found... at the beginning of August.) the freedom I experienced was enormously transformative in a number of ways: for one, the gift of spontaneity. And this was valuable in one major way: I went to a LOT of shows, many of which were unbelievably last-minute and, some might say, poorly planned. But that's how I like to roll.
So, this year, the question I ask myself as I feel the Chill descend over Kalamazoo is this: was it really worth it? Sleeping away the most beautiful hours of the most beautiful days we see in Michigan? Depleting my savings, my brain cells and every ounce of my bodily energy to travel across the Midwest-- across the country, in some cases-- to go to shows? Splitting my commitment-less days both writing, and agonizing about how much writing I wasn't doing? The highs and lows, all the luck and misadventures: was it really worth it?!
In a word: yes.
Some highlights:
-Wakarusa Music Festival. The Festie that started it all (this summer, anyway). If you've been reading my MySpace blog, you'll know that Waka was the (in?)direct cause of my unemployment this summer (that and a mega-bitch named Pattie; yes, with an "ie"). And if you've talked to me for more than ten minutes this summer, you've probably heard all about it.
Waka. I'm just now realizing I have not written about it at all. I think it was just too enormous an experience for me to even try to articulate. I'm going to take a deep breath and do my best to pocket-size it for you:
My roommate Nick and my good friends Alex and Rachel crammed in my Vibe with a weekend's worth of supplies and took off for Arkansas one sunny morning in early June. We arrived at Mulberry Mountain nearly 20 hours later, having braved torrential thunderstorms for most of the drive and experienced a plethora of victories and setbacks alike. Setting up camp (the four of us, plus our friend Agata, her twin sis Anna and their buddy Zach, a new friend of ours and, we would find out, the embodiment of the word "party") we had no idea what we were in for: several days of INTENSE Southern summer heat (most of which we beat by escaping the site, driving down the mountain, swimming and napping on the banks of the Mulberry River) and, of course, some truly lifechanging shows.
The one the comes to mind: STS9. If you are into any electronic music at all, I am sure you've heard of (and probably even like) STS9. On the second night of the festival, STS9 headlined, blowing our minds for several hours from Mainstage. If I don't wrap this up in one sentence, I will be here talking for hours: This show was truly one of the greatest gifts I have ever received.
The next night at Waka was probably the thing I had anticipated and built up in my mind the most, mainly because My Band, Umphrey's McGee, was playing a night show (they had played the previous night; a daylight set at Mainstage, which was good but not overwhelmingly so). I was "that guy" for the entire drive down and few days leading to this show: talking my poor friends' ears off about how Umphrey's is "the best live show in America;" "the most mindblowing shit you'll ever see;" etc etc etc. Unfortunately, I had become separated from my friends by the time Umphrey's took the stage (due to an enormously long and enormously unpublishable story, or set of stories) and spent the show front and center, literally, with other equally vigilant Umphrey's devotees: new friends who supplied me with water and other refreshments and, though I was in the wake of a partied-out moment, I was able to rally and had the time of my life (I even appear on the concert DVD of that show. Available on UMlive.com.). With the help of my new friends (and, not to mention, The Boys From Chicago) I truly came back to life. And, silly me, I didn't even know I wasn't living yet. Which is why I love-- LOVE-- festies. And Umphrey's.
But that is really what Wakarusa, as a whole, did: bring me to life. I re-discovered when I was there what it meant to have fun and enjoy life, and how little it truly takes (in the way of material things, sanitary conditions, etc) to thrive and love your life.
-Shows About Town
The walkability of Kalamazoo in the summer, as opposed to any time of year, is remarkable and lends itself incredibly well to various show-crawls. And yes, I think of them as show-crawls and not bar crawls. Why not go catch bluegrass at Bell's, indie at the Strutt and rock and Papa Pete's And hell, why not a basement show at the end there? And if I was getting REALLY crazy, why not work in a jam sesh of my very own?!
So that's exactly what I tried to do. And like I say, my funds were limited due to my job status, but we're lucky we live in a city where cover charges are seldom over $5 to begin with, and sometimes you can get in cheap-- or even free-- by showing up late. And while I'm not advocating this, as I believe fervently in supporting local bands and venues, it's not always impossible to slide in without paying a cover. Just sayin'.
It was my pleasure to catch a variety of Kalamazoo bands this summer; among my favorites:
--Re-renderings of some of my classic favorites-- namely, the new facade of Ender (they're acoustically delicious!) and Their Teeth Will Be of Lions, with their newly-solo frontwoman Jay Dykehouse.
--Elm Street Riot. Easily one of my favorite Kalamazoo bands.
--Kathryn Tapper. This new(er) chick on the block graced the first Kzoo NOISE! showcase at Old Dog; I was truly impressed and entertained.
--Brandon Mann and the Reprimand. Brandon Mann: He's everywhere you want to be and more. In case you haven't noticed, Kalamazoo NOISE! loves BM&TR, and I am no exception.
--Small Town Son. Alright, alright. I know I talk all the time about how I don't like country. But seeing them one balmy night at Old Dog, Oberon in hand, out on the patio right at dusk, I actually really enjoyed their good-ol'-boy swag, and their covers that even I knew. Oh, and they have a fiddle player who totally shreds.
--Speaking of country: Brother Bill. There has been some controversy surrounding my review of Brother Bill's album, "Wild On The Whiskey," due to a then-anonymous commentor's disagreement with, and, I think, misunderstanding of what I was trying to say (which happens in this medium! and is my fault for my colorful, and sometimes irresponsible, word choices). And allow me to set the record straight: I REALLY LIKE IT! I ALWAYS HAVE! So when I caught them at Harvey's one night, I half expected a little tension between me and at least one of the fellas in the band. But luckily for me, their personalities are as easygoing and good-natured as their music, and everyone was really cool to me. It wasn't until later that I realized that in my review, and/or subsequent comment thread, I promised them all Jim Beam shots, and didn't deliver. Awful. If you're reading this, Brothers, next time-- sorry!
-More Umphrey's
Yes, I am an "Umphreys Fan." This fandom is unlike any I've ever experienced. I feel like I am actually addicted to Umphreys shows. There is truly nothing-- nothing.-- in the world that makes me happier than being at an Umphrey's show: pressed up against the foot of the stage, jamming hard; spaced-out, sober, or anywhere inbetween. There's nothing like having not a single care in the world because your "world" doesn't exist outside of the show. That's what seeing Umphreys is like for me.
And I know you're probably smirking at the very least right now and might even have a slew of anti-"hippie jam band" thoughts in mind, your hand twitching in reckless anticipation of clicking the "Comment" button and unleashing a diatribe in which Trey, Dave, or-- God forbid-- Jerry, could become casualities at any moment. Or maybe not, because if you don't know I love hippie jam bands, you have no business here.
Just kidding. But seriously.
Anyway, Umphrey's. The two shows Umphrey's played at Waka did not satisfy, but only stoked, my desire to go to Umphrey's shows. All. Summer. Since I first saw them last summer at Rothbury, my heart had ached to be at another Umphrey's show. I don't know what it is about their live show, but like I say, there's one main word that comes to mind: addicting. And if you ask anyone who's ever been to an Umphrey's show, they will say the same thing. Not to mention, almost anyone I've ever played Umphreys' music around has asked who they were and if I could burn them some. So anyway. I'm just saying, don't knock it 'til you've heard it. And seen it.
But, in my observation, Umphrey's is more popular EVERY SUMMER, playing more shows on a wider plane to bigger, and more enthusiastic, audiences. And to be honest, I love it. But to be just as honest: in a selfish way, I kind of wish they were still the Midwest phenomenon that they used to be; I wish they still played Papa Pete's and needed couches to crash on in Kzoo (!). I wish I could walk up to them after shows and ask them if they wanted to hang out and talk and listen to Frank Zappa records on vinyl and drink tea in my living room. But, alas, they are far too cool-- and I am far too uncool-- for that to happen. But I can dream.
Alas, I caught them twice at Waka; once in Ohio; and once for a VERY crunchy and extremely beautiful double-set at Frederik Meijer Gardens in Grand Rapids. All were incredible, my favorite of which was the latter. On a hot, windy, gorgeous night, right at sunset, they threw down a truly unstoppable set, including one of my all-time Umphrey's faves, "Gulf Stream" (which, though it's not one they play very often, I called in the requisite drive-up-to-the-show set-prediction game) and a soul-satisfying cover of Toto's "Africa" which still makes me smile when I think about it.
-Land of Nod
Ah, Land of Nod. If you read my rundown "Going Gonzo in the Land of Nod" on my MySpace (friends only; sorry! friend-request me if you wanna read it and can't.) then you already know everything that happened in those crazy, crazy 5 days I was involved with/ attending the fest.
Unfortunately, there isn't a whole lot about music mentioned in that piece (I know; what?). It was really more about the experience. Which is really what Nod was to me. The lineup was so-so in the first place (aside from some killer headliners) and one of my most anticipated acts, Boombox (who we caught at Waka) was CANCELED. Bummer.
However, I got to see not one, but TWO, sets by the incomparable Big Gigantic! The synth/ horn electro act (the brainchild of Dominic Lalli, aka my dream man) blew my mind on the Saturday of the fest, backdropped by the most glorious sunset I have ever seen in my life. If you are into electro at all and don't know Big G, please oh please check him out. It'll be so worth it.
For me, the highpoint of the music at Nod was noneother than Kool Keith. Another show for which I was determined to be front-and-center (although there were probably only 500 or so people in attendance, so it was all too easy), KK (who moonlighted as his trippier alter-ego, Dr. Octagon) was everything I'd always imagined a Kool Keith show to be like.
So, yes, realistically, the summer is almost over. BUT: as always, there's plenty more to come. From up-and-coming local bands, to some big acts we're anticipating in Kzoo (for one, Ali Baba's Tahini; if you haven't heard of them, please search; I would just tell you but wouldn't that be anti-climacitc?) we are sure to be in the presence of some really amazing music in the coming days and months.
See you out there,
Meg [thevolumejunkie]
Tuesday, July 20, 2010
Hello Victor: "Whatever You Want" Review
Nearly a year after they released their debut LP, Hello Victor has unveiled their first full-length, “Whatever You Want.” The Kalamazoo band has dusted off the tracks from the LP and coupled them with its brand-new material, making for an unexpectedly fresh album. Hello Victor’s sound on “Whatever You Want” is like the soul of old-timey bayou blues reincarnated in the body of emo-indie, and smoothed over by the catchy sensibility of pop music: think Wilco meets Brand New. The unlikely juxtaposition of country and country-indie against emo and melodramatic pop allows the band to explore limitless creative territory and experiment with sounds and ideas seldom brought to the table in the realm of modern “pop music.”
From the bleary-eyed blues of the opening track “Good Fish” through to its electrified doppleganger, album closer “Gold Fish,” Hello Victor leads us on a self-reflective rollercoaster ride through late adolescence and that awkward time that comes after it: recalling the carefree days of youth, while delving into the frustration, uneasiness and fear that adulthood presents. This notion is perhaps best presented on the album’s second track “Really Me,” which awakens listeners from the twangy opener with vocalist Eric Martin’s jaded proclamation of “Well I missed you for days and days/ but now all I miss is the days that I wasted/ while I was wasted, passed out in cold basements…” and continues to build tension as Martin’s voice rises, eventually releasing into one of the biggest and most memorable choruses on the album.
Bounding into the playful “Is There a Man in That Couch?” --the obligatory pop-sing-a-long and quite possibly the “catchiest” song on the album-- and then powering through the next few tracks, the album continues to roam every corner of indie-pop terrain, reaching an apex in the final moments of the single-y “Put Your Head On Straight,” whose pop-blues guitar riff and kitschy, honky-tonk piano seem less concerned about genre-defying experimentation and more about… well, in a word: fun. From there, it’s a sullen trudge through broken-down ballad “KVK,” which , after the suicidally beautiful verses, erupts into a climactic bridge in which a chorus backs Martin’s emotionally-exhausted lamentations of “I need a break!” while the guitar part soars above it, like a soloist ad-libbing vehement hallelujahs over a gospel choir. The album’s only instrumental track, “1492” features ambient, echoing instrumentation for a foggy, spooky feel, before melting seamlessly into the noir mania of “Mermaids Are Ugly,” which vaguely recalls the percussive-sounding guitar from the verses of “That’s Typical Chelsea.”
From country to indie to emo and back again, “Whatever You Want” is indeed that: a bona fide crowd pleaser. The album’s examination of the harsh realities of life, its throwbacks to times past, and even its good old-fashioned fun make for an interesting journey for the listener, and it seems that Hello Victor is reaching out-- and while the all-over-the-map nature of the album begs the question of whether there’s an end goal to be grasped, or if they’re just grasping at straws, this is an undeniably promising release, lightyears ahead of their own fairly recent debut work-- and, in spite of its complexity, “Whatever You Want” really asks only one question in the end: what’s next?
An alternate version of this review will appear in the August 2010 issue of Recoil Magazine.
From the bleary-eyed blues of the opening track “Good Fish” through to its electrified doppleganger, album closer “Gold Fish,” Hello Victor leads us on a self-reflective rollercoaster ride through late adolescence and that awkward time that comes after it: recalling the carefree days of youth, while delving into the frustration, uneasiness and fear that adulthood presents. This notion is perhaps best presented on the album’s second track “Really Me,” which awakens listeners from the twangy opener with vocalist Eric Martin’s jaded proclamation of “Well I missed you for days and days/ but now all I miss is the days that I wasted/ while I was wasted, passed out in cold basements…” and continues to build tension as Martin’s voice rises, eventually releasing into one of the biggest and most memorable choruses on the album.
Bounding into the playful “Is There a Man in That Couch?” --the obligatory pop-sing-a-long and quite possibly the “catchiest” song on the album-- and then powering through the next few tracks, the album continues to roam every corner of indie-pop terrain, reaching an apex in the final moments of the single-y “Put Your Head On Straight,” whose pop-blues guitar riff and kitschy, honky-tonk piano seem less concerned about genre-defying experimentation and more about… well, in a word: fun. From there, it’s a sullen trudge through broken-down ballad “KVK,” which , after the suicidally beautiful verses, erupts into a climactic bridge in which a chorus backs Martin’s emotionally-exhausted lamentations of “I need a break!” while the guitar part soars above it, like a soloist ad-libbing vehement hallelujahs over a gospel choir. The album’s only instrumental track, “1492” features ambient, echoing instrumentation for a foggy, spooky feel, before melting seamlessly into the noir mania of “Mermaids Are Ugly,” which vaguely recalls the percussive-sounding guitar from the verses of “That’s Typical Chelsea.”
From country to indie to emo and back again, “Whatever You Want” is indeed that: a bona fide crowd pleaser. The album’s examination of the harsh realities of life, its throwbacks to times past, and even its good old-fashioned fun make for an interesting journey for the listener, and it seems that Hello Victor is reaching out-- and while the all-over-the-map nature of the album begs the question of whether there’s an end goal to be grasped, or if they’re just grasping at straws, this is an undeniably promising release, lightyears ahead of their own fairly recent debut work-- and, in spite of its complexity, “Whatever You Want” really asks only one question in the end: what’s next?
An alternate version of this review will appear in the August 2010 issue of Recoil Magazine.
Saturday, June 26, 2010
Maps & Atlases @ the Strutt [6/24/10]
I'm back from the dead once again; this time with with an epic tale. It's the tale of a show the likes of which I have simply never experienced.
It started simply enough. Jurassic Five was thumping through the speakers as Maps and Atlases loaded in; it was a fucktrillion degrees and there was already a crowd of anxious, sweaty hipsters building at the foot of the stage. The anticipation was palpable when J5 droned into a quick soundcheck.
M&A hit the ground running, with fans cheering from the very first soulful notes that fell from frontman Dave Davison's beard-shrouded visage. They proceeded to weave an unbelievable set, marked by a subtle complexity: a mosaic of folk, rock and indie sounds that cascaded through the body like drops of rain on a sunny day. The watertight drum and guitar syncopation, adorned by Davison's heartfelt, Caleb Followill-esque vocals, blew threw the Strutt like a cool breeze and everybody seemed to forget the asphyxiating heat, set aside their Soft Parade drafts and sang, clapped and danced the rest of the night away. It ended in an explosive 3-song encore, one of maybe 2 or 3 encores I have ever seen at the Strutt (and the only indie-pop show at which I have ever seen anyone slam-dance).
My crew and I sought refuge after the show on the patio of the venue, cooling off and exchanging various show-related nerdery. M& A was loading out and we stopped band members as they walked by (bass player Shiraz Dada and drummer Chris Hainey) saying hi and thanking them for the awesome show. They were not only graciously un-annoyed by our bugging them, but when my friend expressed wanting to have heard "The Ongoing Horrible" during the set, Dave Davison grabbed his Takamine out of their van, and played the song (for an audience of myself, two of my friends and two other fans) as well as a Cast Spells (Davison's solo project) tune, right there on the patio of the Strutt.
Given my fixation on music-writing, I couldn't help but see this moment as an opportunity for an interview. I felt somewhat guilty for this inclination for a couple reasons-- one, because as a musician myself I felt bad for taking him away from his bandmates, who were in the grueling process of van-loading; two, because he was already giving us a once-in-a-lifetime acoustic/ solo mini-set AFTER playing an hour-long show with his band-- but could simply not help squeezing in a couple subtle questions (that's ok, right?).
Davison ruminated on songwriting, giving a nod to their artful and quirky approach to lyrics: "I think there's like a balance of having a raw idea that's more abstract, rather than the idea itself being how raw [the song] is." This "raw-ness" and lyrical honesty is a large part of Maps & Atlases' prowess in the indie community, with lyrics (predominately on their latest release, "Perch Patchwork") that contain colorful imagery and abounding "that's fun to say!" wordplay (see: the Shins; Fruit Bats). Davison first picked up a guitar when he was seven, hasn't really put it down since: "It's hard to say [how much I play.] I pretty much just play all day. Just hang out." Must be nice.
After many promises that we wouldn't put my friend's phone videos of Davison's performance on YouTube (despite voices of skepticism from certain bandmates), we bid Davison and the rest of Maps & Atlases adieu and moved on into the night, with the muffled modulations of J5 still thudding, echoing like footsteps behind us.
Maps and Atlases will be playing Aug 5 in Ann Arbor.
It started simply enough. Jurassic Five was thumping through the speakers as Maps and Atlases loaded in; it was a fucktrillion degrees and there was already a crowd of anxious, sweaty hipsters building at the foot of the stage. The anticipation was palpable when J5 droned into a quick soundcheck.
M&A hit the ground running, with fans cheering from the very first soulful notes that fell from frontman Dave Davison's beard-shrouded visage. They proceeded to weave an unbelievable set, marked by a subtle complexity: a mosaic of folk, rock and indie sounds that cascaded through the body like drops of rain on a sunny day. The watertight drum and guitar syncopation, adorned by Davison's heartfelt, Caleb Followill-esque vocals, blew threw the Strutt like a cool breeze and everybody seemed to forget the asphyxiating heat, set aside their Soft Parade drafts and sang, clapped and danced the rest of the night away. It ended in an explosive 3-song encore, one of maybe 2 or 3 encores I have ever seen at the Strutt (and the only indie-pop show at which I have ever seen anyone slam-dance).
My crew and I sought refuge after the show on the patio of the venue, cooling off and exchanging various show-related nerdery. M& A was loading out and we stopped band members as they walked by (bass player Shiraz Dada and drummer Chris Hainey) saying hi and thanking them for the awesome show. They were not only graciously un-annoyed by our bugging them, but when my friend expressed wanting to have heard "The Ongoing Horrible" during the set, Dave Davison grabbed his Takamine out of their van, and played the song (for an audience of myself, two of my friends and two other fans) as well as a Cast Spells (Davison's solo project) tune, right there on the patio of the Strutt.
Given my fixation on music-writing, I couldn't help but see this moment as an opportunity for an interview. I felt somewhat guilty for this inclination for a couple reasons-- one, because as a musician myself I felt bad for taking him away from his bandmates, who were in the grueling process of van-loading; two, because he was already giving us a once-in-a-lifetime acoustic/ solo mini-set AFTER playing an hour-long show with his band-- but could simply not help squeezing in a couple subtle questions (that's ok, right?).
Davison ruminated on songwriting, giving a nod to their artful and quirky approach to lyrics: "I think there's like a balance of having a raw idea that's more abstract, rather than the idea itself being how raw [the song] is." This "raw-ness" and lyrical honesty is a large part of Maps & Atlases' prowess in the indie community, with lyrics (predominately on their latest release, "Perch Patchwork") that contain colorful imagery and abounding "that's fun to say!" wordplay (see: the Shins; Fruit Bats). Davison first picked up a guitar when he was seven, hasn't really put it down since: "It's hard to say [how much I play.] I pretty much just play all day. Just hang out." Must be nice.
After many promises that we wouldn't put my friend's phone videos of Davison's performance on YouTube (despite voices of skepticism from certain bandmates), we bid Davison and the rest of Maps & Atlases adieu and moved on into the night, with the muffled modulations of J5 still thudding, echoing like footsteps behind us.
Maps and Atlases will be playing Aug 5 in Ann Arbor.
Saturday, May 22, 2010
"Shaken Daddy Syndrome" Premiering This Weekend
Filmmaker and Kalamazoo native Kevin Park will be premiering his film, "Shaken Daddy Syndrome" tonight, soundtrack of which is comprised exclusively of selections by local bands. With songs by MESA, Nobody's Favorite, Chris Voss, Blue Dahlia, Ghosts of the Great Lakes, REA, Aaron Young and his Night Jars, and more, this film show cases some great music from the Kalamazoo scene's past and present.
In an interview, writer/ director Park, who has been filming area bands for years, described the film to me as "a father/son Odd Couple." The story is about Wayne and Tristan Banks, an estranged father and son. "After years of not caring, [Wayne and Tristan] finally come to amends when the father, Wayne, disowns Tristan, hoping to never see him again. Within days, Wayne is kicked out by his wife and is forced to move in with Tristan and his roommates," Park explained.
With the hilarious and bizarre premise, a "deadbeat sister" and "overly religious mother" thrown into the mix, and considering Park's admiration of classic comedic genius (he cites Mel Brooks, Bobcat Goldthwait, and John Candy as influences) you're sure to get plenty of laughs. But, you'll get a good dose of great local music, hand-picked by someone who really knows his stuff: Park has been active in the Kalamazoo scene for long enough to know exactly who's who on the scene, both then and now. "When I turned 21," he says, "I would say [my friend] Chad Houts and I were at the old Harvey's six nights out of the week seeing live shows. Most of the music in the movie is of older bands that may not exist anymore, but their albums are always near the player and I never grow tired of them." Classics from now-defunct bands like MESA, Nobody's Favorite and others, aside more current tunes from Ghosts of the Great Lakes' first album "The Death of the Party," and others exhibit Parks' eclectic taste. Park also digs King Tammy, Lint, Lo Fi Scorpio, Their Teeth Will Be of Lions and Fiona Dickinson.
The film was partially shot in Kalamazoo, but the music selections were about more than just local color. "The music in the movie is half the movie. You take away these songs and you're left with a shell." Park says. "The movie is still good, but the music is the soul of the film.
It's premiering tonight (5/22/10) at the Riviera Theatre in Three Rivers, and will begin playing tomorrow night at the Rave in downtown Kalamazoo (visit the Official Press Page, or ShakenDaddySyndrome.com for more info) but expect to see Park around the scene in the future: "I would love to do music videos. That would be a dream job. There's so much talent around here, not just with the bands, but with artists and designers that could go into making killer videos."
But Park is about more than just filmmaking; his history in the scene gives him valuable insight that I think we can all learn from: "We could be doing a lot more for the artists and arts in town if we were working together more. When I say that I mean the artists working with other artists, not this humdrum Art Hop and events like that where the city makes it look like we're doing more than what we really are. We should have Art Hop crowds for all arts all the time, not just one day a month."
Well, you heard the man.
See you out there this weekend.
* * * *
Shaken Daddy Syndrome is presented by Campaign Pictures, LLC.
In an interview, writer/ director Park, who has been filming area bands for years, described the film to me as "a father/son Odd Couple." The story is about Wayne and Tristan Banks, an estranged father and son. "After years of not caring, [Wayne and Tristan] finally come to amends when the father, Wayne, disowns Tristan, hoping to never see him again. Within days, Wayne is kicked out by his wife and is forced to move in with Tristan and his roommates," Park explained.
With the hilarious and bizarre premise, a "deadbeat sister" and "overly religious mother" thrown into the mix, and considering Park's admiration of classic comedic genius (he cites Mel Brooks, Bobcat Goldthwait, and John Candy as influences) you're sure to get plenty of laughs. But, you'll get a good dose of great local music, hand-picked by someone who really knows his stuff: Park has been active in the Kalamazoo scene for long enough to know exactly who's who on the scene, both then and now. "When I turned 21," he says, "I would say [my friend] Chad Houts and I were at the old Harvey's six nights out of the week seeing live shows. Most of the music in the movie is of older bands that may not exist anymore, but their albums are always near the player and I never grow tired of them." Classics from now-defunct bands like MESA, Nobody's Favorite and others, aside more current tunes from Ghosts of the Great Lakes' first album "The Death of the Party," and others exhibit Parks' eclectic taste. Park also digs King Tammy, Lint, Lo Fi Scorpio, Their Teeth Will Be of Lions and Fiona Dickinson.
The film was partially shot in Kalamazoo, but the music selections were about more than just local color. "The music in the movie is half the movie. You take away these songs and you're left with a shell." Park says. "The movie is still good, but the music is the soul of the film.
It's premiering tonight (5/22/10) at the Riviera Theatre in Three Rivers, and will begin playing tomorrow night at the Rave in downtown Kalamazoo (visit the Official Press Page, or ShakenDaddySyndrome.com for more info) but expect to see Park around the scene in the future: "I would love to do music videos. That would be a dream job. There's so much talent around here, not just with the bands, but with artists and designers that could go into making killer videos."
But Park is about more than just filmmaking; his history in the scene gives him valuable insight that I think we can all learn from: "We could be doing a lot more for the artists and arts in town if we were working together more. When I say that I mean the artists working with other artists, not this humdrum Art Hop and events like that where the city makes it look like we're doing more than what we really are. We should have Art Hop crowds for all arts all the time, not just one day a month."
Well, you heard the man.
See you out there this weekend.
* * * *
Shaken Daddy Syndrome is presented by Campaign Pictures, LLC.
Saturday, May 01, 2010
Can't Make It To Your Favorite Band's Show This Summer?
Well, my friends, all you need is a new favorite.
Stuck in Kalamazoo for another summer? Looking at all the killer festivals and shows for the summer, but can't quite cut it on part-time minimum wage and milking the last few leftover student loan dollars? With declining revenue from album sales, EVERYONE is hiking up ticket prices (even DMB's lawn tickets are $40 and up this season... it seems like just yesterday I paid $24 to sit in the rain and jam out to "One Sweet World..." Oh, to be young.)
No worries! As we all know by now, there are plenty of outrageously good bands right here in K Town. Just because you didn't make it to Coachella and are "trying" to get your tix to Bonnaroo (c'mon) doesn't mean you can't rock out and have a really spectacular night.
[Dying to see...] [You should check out...]
Phish? DMB? The Ragbirds. This chick-fronted folk band plays a funky
repertoire of roots-folk and world music. The MI natives
have carved out a significant place in the regional folk scene
and are embarking on a summer tour that will take them all
over the Midwest... including right here in Kzoo. With a
wide range of sounds for a beautiful-- and fun, if you wanna
get your dance on-- and always-changing sound, The
Ragbirds offer up a sound that will surely leave you wanting
more. With artful and clever lyrics ("Honesty is following
your demons/ to the place that they reside/ and then you
pot some plants outside their windowsill/ to let you crawl
inside") as well as sounds from the Carribbean, Romania,
and beyond, this is one "hippie jam band" that definitely
breaks the mold.
Jay Z? Gorillaz? M.E.D. Just because you're in Kalamazoo doesn't mean
you can't get your hip-hop fix. M.E.D. (Mental Elastic
Dynasty) mixes infectious beats with a wide range of verses:
the three MCs of MED-- the "level-headed and serious"
Anagram; the stylistic chameleon Philosophy; and token
wiseguy L-C.I.D.-- blend together to create a multi-faceted
feel, with rhymes that would appeal to even the most
seasoned hip-hop aficionado (check out "There They Go"
and "Money;" both available on MySpace).
Weezer? Tom Petty
and the Heartbreakers? Vampire
Weekend? Dead Scene Radio. Known for their pop sensibilities and
choruses so sweet you just might get a toothache, these
Kzoo-scene bigwigs are the first word in pop-rock (be on
the lookout for a full-length from them this summer!).
The Black Keys? Kings of
Leon? The Raconteurs? Elm Street Riot. After blowing the roof off a show at
Corner Bar last weekend with A Friend Called Fire, and
rocking out Kalamazoo Noise Convention this Thursday,
Elm Street Riot have been pretty busy dudes lately... and,
lucky for us, there's no end in sight. With their bluesy
garage-rock, ESR just might be on their way to ruling the
Kalamazoo Scene.
Jeff Beck? Robby Haas Trio. While Robby Haas Trio might not quite
stack up to The Loner himself, they do just fine at
embodying the freewheeling blues style to get you grooving
this summer. While they currently do not appear to have
any shows scheduled, keep your eye out for these dudes
this summer if you're into a good crunchy blues jam every
now and again (and who isn't).
Steve Martin and the
Steep Canyon Rangers?
The String Cheese Incident? Rootstand. Summer is, indeed, the very best time to check
out one of my very favorite bands in Kalamazoo...
Rootstand! With a unique, "swashbucklin'" style of
bluegrass, Rootstand is sure to get you steppin' in the very
best way. Their hypnotizing, roots-oriented jams are
enough to convert even the most staunch naysayers into
bluegrass junkies... and, hey, what goes better with a
delicious Oberon than a sweaty hippie dancefest?
Welcome to Michigan, ya'll (check out the absurdly-good
"River Blues" on their MySpace). Oh, and of course,
don't forget about Greensky Bluegrass, who require neither
introduction nor explanation.
John Mayer or JM3? Four Finger Five. Those active in the jam scene in
southwest Michigan are probably already familiar with
FF5. Known for killer shows and facemelting blues
jams, FF5 epitomizes the perfect summer gig. Their
smooth funk/ jazz/ blues, polished by buttah-smooth vocals
reminiscent of the J-man himself, is sure to induce
involuntary booty-shaking all over the state... and
beyond... this summer (check out their groove "Giving It
All Away;" be careful, it's known to be habit-forming). If
you read this TODAY (5/1/10) they will be playing a set at
Bell's... what better way to kick off the summer?
Jason Mraz? Jack
Johnson? We Know Jackson. Ok, admit it. You loooove acoustic/
piano driven melodies, girl-I'll-be-your-best-boy-ever
motifs and catchy choruses aplenty (complete with "la-da-
da"s). Hey, I'm not telling. This jazz-pop trio, fronted by
boyband-ready Chris Janowiak, has been around in
southwest Michigan for several years, leaving no schoolgirl
uncrushed ("crush" figuratively, natch). With impressive
musical chops that set them apart from much of the "pop"
crowd, We Know Jackson prove they're more than just
pretty faces (check out "The Way,"available on MySpace).
Hot Chip? Imogen Heap? Juliana Stein. Did you think you weren't going to get your
electro-pop on? Relax; don't get your American Apparel
pants in a bunch. Juliana Stein-- a newcomer on the
scene-- weaves cool electronic tunes and remixes that will
either get you on the dance floor, or reignite your creative
fires... up to you. With her artfulness and indie aesthetic,
Stein stays grounded by a sense of humor with her music
and would likely put on a show this town wouldn't soon
forget. If you like Juliana Stein, check out DUDE aTOMic!
The Flaming Lips? Crash City Saints. These artisans of ambient guitar-rock
have been on the Kalamazoo scene for years, taking
listeners on a sonic journey with every release and every
show (most recently, they rocked the Strutt for Noise
Convention!). With their signature guitar sound
(heavily-distorted, layered and ambient for a lush, unique
feel) set off by haunting, mysterious-sounding vocals and
relentless but subtle percussion, Crash City Saints is like
the soundtrack to a daydream.Striking the perfect balance
between raw alt-rock and fuzzy swirls of ambient sound,
Crash City Saints is the perfect band to check out
when you need a vacation, but only have an hour or two...
hey, it's ok to space out and just enjoy the show. So go
ahead... close your eyes and lose yourself in the swirls of
beautiful chaos and enjoy your journey down the rabbit
hole.
Stuck in Kalamazoo for another summer? Looking at all the killer festivals and shows for the summer, but can't quite cut it on part-time minimum wage and milking the last few leftover student loan dollars? With declining revenue from album sales, EVERYONE is hiking up ticket prices (even DMB's lawn tickets are $40 and up this season... it seems like just yesterday I paid $24 to sit in the rain and jam out to "One Sweet World..." Oh, to be young.)
No worries! As we all know by now, there are plenty of outrageously good bands right here in K Town. Just because you didn't make it to Coachella and are "trying" to get your tix to Bonnaroo (c'mon) doesn't mean you can't rock out and have a really spectacular night.
[Dying to see...] [You should check out...]
Phish? DMB? The Ragbirds. This chick-fronted folk band plays a funky
repertoire of roots-folk and world music. The MI natives
have carved out a significant place in the regional folk scene
and are embarking on a summer tour that will take them all
over the Midwest... including right here in Kzoo. With a
wide range of sounds for a beautiful-- and fun, if you wanna
get your dance on-- and always-changing sound, The
Ragbirds offer up a sound that will surely leave you wanting
more. With artful and clever lyrics ("Honesty is following
your demons/ to the place that they reside/ and then you
pot some plants outside their windowsill/ to let you crawl
inside") as well as sounds from the Carribbean, Romania,
and beyond, this is one "hippie jam band" that definitely
breaks the mold.
Jay Z? Gorillaz? M.E.D. Just because you're in Kalamazoo doesn't mean
you can't get your hip-hop fix. M.E.D. (Mental Elastic
Dynasty) mixes infectious beats with a wide range of verses:
the three MCs of MED-- the "level-headed and serious"
Anagram; the stylistic chameleon Philosophy; and token
wiseguy L-C.I.D.-- blend together to create a multi-faceted
feel, with rhymes that would appeal to even the most
seasoned hip-hop aficionado (check out "There They Go"
and "Money;" both available on MySpace).
Weezer? Tom Petty
and the Heartbreakers? Vampire
Weekend? Dead Scene Radio. Known for their pop sensibilities and
choruses so sweet you just might get a toothache, these
Kzoo-scene bigwigs are the first word in pop-rock (be on
the lookout for a full-length from them this summer!).
The Black Keys? Kings of
Leon? The Raconteurs? Elm Street Riot. After blowing the roof off a show at
Corner Bar last weekend with A Friend Called Fire, and
rocking out Kalamazoo Noise Convention this Thursday,
Elm Street Riot have been pretty busy dudes lately... and,
lucky for us, there's no end in sight. With their bluesy
garage-rock, ESR just might be on their way to ruling the
Kalamazoo Scene.
Jeff Beck? Robby Haas Trio. While Robby Haas Trio might not quite
stack up to The Loner himself, they do just fine at
embodying the freewheeling blues style to get you grooving
this summer. While they currently do not appear to have
any shows scheduled, keep your eye out for these dudes
this summer if you're into a good crunchy blues jam every
now and again (and who isn't).
Steve Martin and the
Steep Canyon Rangers?
The String Cheese Incident? Rootstand. Summer is, indeed, the very best time to check
out one of my very favorite bands in Kalamazoo...
Rootstand! With a unique, "swashbucklin'" style of
bluegrass, Rootstand is sure to get you steppin' in the very
best way. Their hypnotizing, roots-oriented jams are
enough to convert even the most staunch naysayers into
bluegrass junkies... and, hey, what goes better with a
delicious Oberon than a sweaty hippie dancefest?
Welcome to Michigan, ya'll (check out the absurdly-good
"River Blues" on their MySpace). Oh, and of course,
don't forget about Greensky Bluegrass, who require neither
introduction nor explanation.
John Mayer or JM3? Four Finger Five. Those active in the jam scene in
southwest Michigan are probably already familiar with
FF5. Known for killer shows and facemelting blues
jams, FF5 epitomizes the perfect summer gig. Their
smooth funk/ jazz/ blues, polished by buttah-smooth vocals
reminiscent of the J-man himself, is sure to induce
involuntary booty-shaking all over the state... and
beyond... this summer (check out their groove "Giving It
All Away;" be careful, it's known to be habit-forming). If
you read this TODAY (5/1/10) they will be playing a set at
Bell's... what better way to kick off the summer?
Jason Mraz? Jack
Johnson? We Know Jackson. Ok, admit it. You loooove acoustic/
piano driven melodies, girl-I'll-be-your-best-boy-ever
motifs and catchy choruses aplenty (complete with "la-da-
da"s). Hey, I'm not telling. This jazz-pop trio, fronted by
boyband-ready Chris Janowiak, has been around in
southwest Michigan for several years, leaving no schoolgirl
uncrushed ("crush" figuratively, natch). With impressive
musical chops that set them apart from much of the "pop"
crowd, We Know Jackson prove they're more than just
pretty faces (check out "The Way,"available on MySpace).
Hot Chip? Imogen Heap? Juliana Stein. Did you think you weren't going to get your
electro-pop on? Relax; don't get your American Apparel
pants in a bunch. Juliana Stein-- a newcomer on the
scene-- weaves cool electronic tunes and remixes that will
either get you on the dance floor, or reignite your creative
fires... up to you. With her artfulness and indie aesthetic,
Stein stays grounded by a sense of humor with her music
and would likely put on a show this town wouldn't soon
forget. If you like Juliana Stein, check out DUDE aTOMic!
The Flaming Lips? Crash City Saints. These artisans of ambient guitar-rock
have been on the Kalamazoo scene for years, taking
listeners on a sonic journey with every release and every
show (most recently, they rocked the Strutt for Noise
Convention!). With their signature guitar sound
(heavily-distorted, layered and ambient for a lush, unique
feel) set off by haunting, mysterious-sounding vocals and
relentless but subtle percussion, Crash City Saints is like
the soundtrack to a daydream.Striking the perfect balance
between raw alt-rock and fuzzy swirls of ambient sound,
Crash City Saints is the perfect band to check out
when you need a vacation, but only have an hour or two...
hey, it's ok to space out and just enjoy the show. So go
ahead... close your eyes and lose yourself in the swirls of
beautiful chaos and enjoy your journey down the rabbit
hole.
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