Live Show Review: Crowded House at the Tabernacle in Atlanta, 8/1/10
Like the Phoenix that rose from the ashes, Crowded House has apparently returned for good. Their 2007 comeback (after a 14-year absence), Time on Earth, proved to be a more mature and deliberate accomplishment than Crowdies had become accustomed to in the eighties and nineties. Now comes the band's sixth studio album, Intriguer. This album continues on the path of maturity, but reaches back to the early days. Just a bit.
Neil Finn and company are once again on the road supporting a new album. The difference is that this seems to be the happiest time in the band’s life. And Neil brought along his son Liam (himself a successful recording artist) and his wife Sharon, who added beautiful harmonies to both Intriguer and this terrific show at the Tabernacle in Atlanta.
Finn opened the show with “I Feel Possessed,” from 1988’s critically acclaimed Temple of Low Men. This excellent selection was a definite crowd pleaser. After another classic (“In My Command”), the band swung into the new album with the first single, “Saturday Sun.” The song is reminiscent of the best Neil Finn has created.
Finn’s voice was even stronger than during their comeback tour in 2007 at this very venue. And once again joined by his son, Liam, who sang on “Silent House,” and “Say That Again.” A true surprise was Finn’s wife, Sharon showing up. Sharon has harmonized with her husband on several songs and sang with the band on the new “Archer’s Arrows” and “Isolation.” Sharon took the stage just after Finn performed a one-man miracle of “Message To My Girl,” the 1983 Split Enz song he wrote for her (“No more empty self possession / Visions swept under the mat / It's no New Year’s resolution, it's more than that”).
A little out-of-the-ordinary moment was when Crowded House performed their first (and arguably best) single, “Don’t Dream It’s Over” in the middle of the show, as opposed to the end of the show. This song has been the signature final song at CH live shows for years. Finn has shaken it up after singing that song live for 25 years. Understandable.
Other highlights included “Distant Sun,” “Whispers And Moans,” “Private Universe,” “Something So Strong,” and “Locked Out.” Finn still pulls the fans in to several sing-alongs for each show. And these sing-alongs are incredible. Everyone in the place knew the words and were able to sing them in perfect harmony. It was a joyous noise. Finn and original CH member Nick Seymour (bass) have been together since the demise of Slit Enz and the birth of Crowded House in 1985. Mark Hart (guitar, keyboards, etc.) has been with the band since the 1993 album Together Alone and drummer Matt Sherrod joined the group permanently for Time On Earth. Sherrod takes what the late, great Paul Hester did and adds some UMPH.
As a collective, this foursome works together like a well-oiled machine. Always smiling and often joking, these guys provided much entertainment aside from the excellent music. Finn has a dry and quick sense of humor. He exhibited that sense of humor when a young lady jumped on stage during the final number, “Better Be Home Soon.” After dancing like a cheerleader possessed for a few seconds, the audience (and surely the cheerleader) fully expected for security to yank her off stage. It didn’t happen. Apparently CH didn’t pay for that level of protection. So, she danced and gyrated throughout the entire song. Finn spontaneously broke into Hot Chocolate's “You Sexy Thing.” And the band followed. So, without letting this moment ruin an otherwise perfect evening, the crowd left the Tabernacle in a great mood.
After years of Lennon/McCartney comparisons, Finn continues to create some of pop/rock’s most listenable and intelligent music. Please Neil, don’t stop now.
Opener Lawrence Arabia, also from New Zealand, warmed up the show nicely with familiar pop hooks and harmonies.
Set List:
I Feel Possessed
In My Command
Saturday Sun
Amsterdam
Four Seasons In One Day
Silent House
Fall At Your Feet
Distant Sun
Either Side Of The World
Twice If You're Lucky
Whispers And Moans
Private Universe / Black And White Boy
Say That Again
Message To My Girl
Archer's Arrows
Isolation
Don't Dream It's Over
Something So Strong
When You Come
Encore:
Locked Out
Fingers Of Love
Weather With You
Not The Girl You Think You Are
Better Be Home Soon / You Sexy Thing
For the Intriguer review, click HERE.
"Don't Dream It's Over" live in Atlanta
Monday, August 16, 2010
Thursday, July 22, 2010
Amanda Palmer and her ukulele take on Radiohead
New Release: Amanda Palmer Plays the Popular Hits of Radiohead on Her Magical Ukulele
Dresden Dolls leader and Evelyn Evelyn member Amanda Palmer is celebrating her liberation from Roadrunner Records with a special EP of Radiohead covers. She claims to be a big fan and is going about distribution in a Radiohead kind of way. She is a supporter of direct fan-to-artist sales and will be offering her album via a digital only release beginning July 20 through bandcamp. Palmer will be asking for a minimum donation of 84¢, with 54¢ of that going to Radiohead and 30¢ going to PayPal for transaction fees. Hopefully, fans will shell out more than the minimum.
The concept may sound way kitschy, but upon listening to Amanda Palmer Plays the Popular Hits of Radiohead on Her Magical Ukulele, you will hear Palmer putting her heart and soul into this project. After apparently learning the ukulele as a joke in 2008, there is nothing funny about this record. In fact, this could arguably be considered some of the best Radiohead covers out there. Give it a listen and decide if you agree. Tracks include “Fake Plastic Trees,” “High And Dry,” “No Surprises,” “Creep (Hungover at Soundcheck in Berlin),” “Exit Music (For A Film),” “Creep (Live in Prague),” and “Idioteque.”
This is a rare departure from her “punk cabaret” style of music. For die-hard Radiohead fans, this is a must-have collection of gems. Not only does Palmer smoke on the uke, but her beautiful, emotion-filled vocals should make Thom Yorke a proud daddy.
Go to www.amandapalmer.net for tour and album information.
Dresden Dolls leader and Evelyn Evelyn member Amanda Palmer is celebrating her liberation from Roadrunner Records with a special EP of Radiohead covers. She claims to be a big fan and is going about distribution in a Radiohead kind of way. She is a supporter of direct fan-to-artist sales and will be offering her album via a digital only release beginning July 20 through bandcamp. Palmer will be asking for a minimum donation of 84¢, with 54¢ of that going to Radiohead and 30¢ going to PayPal for transaction fees. Hopefully, fans will shell out more than the minimum.
The concept may sound way kitschy, but upon listening to Amanda Palmer Plays the Popular Hits of Radiohead on Her Magical Ukulele, you will hear Palmer putting her heart and soul into this project. After apparently learning the ukulele as a joke in 2008, there is nothing funny about this record. In fact, this could arguably be considered some of the best Radiohead covers out there. Give it a listen and decide if you agree. Tracks include “Fake Plastic Trees,” “High And Dry,” “No Surprises,” “Creep (Hungover at Soundcheck in Berlin),” “Exit Music (For A Film),” “Creep (Live in Prague),” and “Idioteque.”
This is a rare departure from her “punk cabaret” style of music. For die-hard Radiohead fans, this is a must-have collection of gems. Not only does Palmer smoke on the uke, but her beautiful, emotion-filled vocals should make Thom Yorke a proud daddy.
Go to www.amandapalmer.net for tour and album information.
New release finds Crowded House with unfinished business
In 2007, Crowded House fans got an unexpected reunion of their favorite band. After a 13-year hiatus which showed no signs of ending, mainly due to drummer Paul Hester’s suicide in 2005, the band regrouped with a new drummer, a new album, and a sold-out tour. Now CH have proven they’re in it to stay with their upcoming release Intriguer (Concord Records). Back together are Mark Hart on guitar, backing vocals, and whatever else is needed, and bassist/album cover artist Nick Seymour. Drummer Matt Sherrod has also rejoined the group.
The first single off Intriguer is “Saturday Sun,” and ranks right up there with their best songs in terms of songwriting, sing-a-long potential, and hookworthiness. For the most part, this latest effort exhibits are more mature and subdued Crowded House. All songs, however, showcase head Crowdie Neil Finn’s golden pipes, superb songwriting, and much underrated guitar work (his musical arrangements haven’t been compared to Lennon and McCartney for nothing). On the wonderful “Archer’s Arrows,” Neil is joined by wife Sharon for some terrific harmonizing. In true-to-form Finn style, this one grows from quietness to a crescendo and back with great panache.
With the catchy “Either Side Of The World,” Finn sings, “Either side of the world / Chase the sun / Pay the maximum rate / To feel so lonesome.” It’s always difficult for the average listener to understand how someone so successful (and seemingly surrounded by throngs of supporters) can even mention the word “lonesome.” Finn translates this well and always has. He’s truly a deep thinker and wants us all to join him down there.
On a related note, “Isolation” explores that loneliness again (“There’s always a way / To end this isolation / One step away from everyone / If you could open it up / You could connect it to us / One step is more than enough”). Not sure if Neil is delving inward, or observing another. “Inside Out” embraces a countryish feel, complete with Hart on electric fuzz guitar.
Intriguer is an album for the intelligent music lover. No big explosions or gratuitous sex and violence. Just quality music with a meaning. It’s one of those albums that, after several listens, you find yourself loving it. Just like a great foreign film. With subtitles.
Catch Crowded House on the road this fall and become enlightened (www.crowdedhouse.com or www.frenz.com).
The first single off Intriguer is “Saturday Sun,” and ranks right up there with their best songs in terms of songwriting, sing-a-long potential, and hookworthiness. For the most part, this latest effort exhibits are more mature and subdued Crowded House. All songs, however, showcase head Crowdie Neil Finn’s golden pipes, superb songwriting, and much underrated guitar work (his musical arrangements haven’t been compared to Lennon and McCartney for nothing). On the wonderful “Archer’s Arrows,” Neil is joined by wife Sharon for some terrific harmonizing. In true-to-form Finn style, this one grows from quietness to a crescendo and back with great panache.
With the catchy “Either Side Of The World,” Finn sings, “Either side of the world / Chase the sun / Pay the maximum rate / To feel so lonesome.” It’s always difficult for the average listener to understand how someone so successful (and seemingly surrounded by throngs of supporters) can even mention the word “lonesome.” Finn translates this well and always has. He’s truly a deep thinker and wants us all to join him down there.
On a related note, “Isolation” explores that loneliness again (“There’s always a way / To end this isolation / One step away from everyone / If you could open it up / You could connect it to us / One step is more than enough”). Not sure if Neil is delving inward, or observing another. “Inside Out” embraces a countryish feel, complete with Hart on electric fuzz guitar.
Intriguer is an album for the intelligent music lover. No big explosions or gratuitous sex and violence. Just quality music with a meaning. It’s one of those albums that, after several listens, you find yourself loving it. Just like a great foreign film. With subtitles.
Catch Crowded House on the road this fall and become enlightened (www.crowdedhouse.com or www.frenz.com).
Fiction Plane bring the noise with excellent Sparks
For their third release, Sparks, Britain’s Fiction Plane has woven a tighter and more accessible web of tunes. The first single, “Push Me Around” has more hooks than a fishing tournament. Singer/bassist Joe Sumner (son of Sting) sings “I used to think I was something / I used to think I was, but now I’m sure” with all the bravado and confidence of his old man. The song, like many of Fiction Plane’s, involves Seton Daunt’s reggae-tinged guitar, Sumner’s smooth solid bass, and Pete Wilhoit’s explosive drumming.
The highly caffeinated lead off track, “You Know You’re Good (La La La Song),” shows off Sumner’s strong and evolving voice. And like caffeine, is very addictive. Just listen to it once…you’ll want another cup. While his voice does remind you a bit of his father’s, it’s easy to hear FP’s signature song style. They have slowly made a name for themselves and are succeeding on their own merits. And as a live act, they earn it.
“Russian L.S.D.” finds the boys drifting into Doorsland (you’ll swear that’s Ray Manzarak on keyboards). The pace is measured and the vocals are haunting. Daunt’s guitar solo is wicked as well as his effects later in the song. Nice one. While FP totally nail the near-ballad (“Denied”), their soul lies in rock music.
When Sumner sings, “This is real democracy / This is what the people want / Put your feelings into action, a statement of intent / We speak clearly, you’ll know just what we meant / Revenge, revenge,” in the post-punkish “Revenge,” you’ll believe he’s getting his. Behind these thought-provoking lyrics is a powerhouse three-minutes of great musicianship that WILL make you move your feet. Promise.
Throughout Sparks, one should take notice that Daunt, Sumner, and Wilhoit have pushed the envelope experimenting with new sounds and taking those sounds in new directions. After a massive amount of exposure in 2007-2008 warming up the Police during their reunion tour, Fiction Plane surely found some new fans. This trio has slowly moved out of that big shadow and made a name for itself. For tour and CD information, go to www.fictionplane.com.
The highly caffeinated lead off track, “You Know You’re Good (La La La Song),” shows off Sumner’s strong and evolving voice. And like caffeine, is very addictive. Just listen to it once…you’ll want another cup. While his voice does remind you a bit of his father’s, it’s easy to hear FP’s signature song style. They have slowly made a name for themselves and are succeeding on their own merits. And as a live act, they earn it.
“Russian L.S.D.” finds the boys drifting into Doorsland (you’ll swear that’s Ray Manzarak on keyboards). The pace is measured and the vocals are haunting. Daunt’s guitar solo is wicked as well as his effects later in the song. Nice one. While FP totally nail the near-ballad (“Denied”), their soul lies in rock music.
When Sumner sings, “This is real democracy / This is what the people want / Put your feelings into action, a statement of intent / We speak clearly, you’ll know just what we meant / Revenge, revenge,” in the post-punkish “Revenge,” you’ll believe he’s getting his. Behind these thought-provoking lyrics is a powerhouse three-minutes of great musicianship that WILL make you move your feet. Promise.
Throughout Sparks, one should take notice that Daunt, Sumner, and Wilhoit have pushed the envelope experimenting with new sounds and taking those sounds in new directions. After a massive amount of exposure in 2007-2008 warming up the Police during their reunion tour, Fiction Plane surely found some new fans. This trio has slowly moved out of that big shadow and made a name for itself. For tour and CD information, go to www.fictionplane.com.
Friday, July 9, 2010
Sting brings Symphonicities tour to Atlanta
Live Review: Sting with the Royal Philharmonic Orchestra, Chastain Park, 6/29/10
Gordon Sumner has been through many incarnations in his life. Before selling millions of records, he was labeled with the nickname “Sting” by his school buddies (for always wearing the same black and yellow striped sweater). But musically, Sting was a member of Last Exit, a large jazz ensemble he played with while still teaching school as a day job. Then, meeting up with the American, punk-influenced drummer Stewart Copeland, they formed the Police. After the demise of that group following the chart-topping perfection of Synchronicity, Sting dropped his first solo album, which ventured back into a bit of jazz.
Since then, he’s experimented with the horn-heavy “Detroit” sound (Mercury Falling), taken on the John Dowland catalog of 16th and 17th century lute music (Songs From The Labyrinth), recorded a dark and personal album of traditional middle ages music (If On A Winter’s Night…), and now put some of his most celebrated songs into a symphonic setting. All the while, keeping intact his core fan base, mainly because he is an artist who takes chances and follows his heart, not the Top 40 avenues.
So, it was on this night in Atlanta, at beautiful Chastain Park Amphitheatre, that Sting performed his Symphonicities for a large and appreciative crowd. As summertime lightening was held at bay as a backdrop, Sting and the 45-piece Royal Philharmonic Orchestra played a terrific two-and-a-half hour concert. The show kicked off with “If I Ever Lose My Faith In You,” followed by some older Police tunes (“Next To You,” “Roxanne,” “Every Little Thing She Does Is Magic,” “King Of Pain,” and “Every Breath You Take”). But most of the set list was culled from Sting’s prolific solo career that has now spanned 25 years.
Some of the evening’s highlights included the cold war classic “Russians” from his first solo effort, 1985’s The Dream of the Blue Turtles (“There is no historical precedent to put the words in the mouth of the president / There’s no such thing as a winnable war, it’s the lie we don’t believe anymore”). Still timely. The song telling the story of an accidental shooting and its aftermath (covered by Johnny Cash shortly before his death), “I Hung My Head,” was emotionally powerful (“My brother’s rifle went off in my hand / And a shot rang out across the land / The horse it kept running, the rider was dead / I hung my head / I hung my head”). Others included “Shape Of My Heart,” “Englishman In New York,” the raucous “She’s Too Good For Me,” “Fragile,” “Moon Over Bourbon Street,” and “Fields Of Gold.”
Throughout the performance, Sting stood aside several times, giving the stage to the perfect Royal Philharmonic Orchestra. The songs were rich and alive. But they’re not just Police and Sting songs with added orchestra. These, for the most part, have been rearranged and “reimagined” for this Symphonicities tour. So Gordon Sumner is enjoying his newest musical evolution. What could he possibly do next? Buy Sting’s Symphonicities out July 13.
Gordon Sumner has been through many incarnations in his life. Before selling millions of records, he was labeled with the nickname “Sting” by his school buddies (for always wearing the same black and yellow striped sweater). But musically, Sting was a member of Last Exit, a large jazz ensemble he played with while still teaching school as a day job. Then, meeting up with the American, punk-influenced drummer Stewart Copeland, they formed the Police. After the demise of that group following the chart-topping perfection of Synchronicity, Sting dropped his first solo album, which ventured back into a bit of jazz.
Since then, he’s experimented with the horn-heavy “Detroit” sound (Mercury Falling), taken on the John Dowland catalog of 16th and 17th century lute music (Songs From The Labyrinth), recorded a dark and personal album of traditional middle ages music (If On A Winter’s Night…), and now put some of his most celebrated songs into a symphonic setting. All the while, keeping intact his core fan base, mainly because he is an artist who takes chances and follows his heart, not the Top 40 avenues.
So, it was on this night in Atlanta, at beautiful Chastain Park Amphitheatre, that Sting performed his Symphonicities for a large and appreciative crowd. As summertime lightening was held at bay as a backdrop, Sting and the 45-piece Royal Philharmonic Orchestra played a terrific two-and-a-half hour concert. The show kicked off with “If I Ever Lose My Faith In You,” followed by some older Police tunes (“Next To You,” “Roxanne,” “Every Little Thing She Does Is Magic,” “King Of Pain,” and “Every Breath You Take”). But most of the set list was culled from Sting’s prolific solo career that has now spanned 25 years.
Some of the evening’s highlights included the cold war classic “Russians” from his first solo effort, 1985’s The Dream of the Blue Turtles (“There is no historical precedent to put the words in the mouth of the president / There’s no such thing as a winnable war, it’s the lie we don’t believe anymore”). Still timely. The song telling the story of an accidental shooting and its aftermath (covered by Johnny Cash shortly before his death), “I Hung My Head,” was emotionally powerful (“My brother’s rifle went off in my hand / And a shot rang out across the land / The horse it kept running, the rider was dead / I hung my head / I hung my head”). Others included “Shape Of My Heart,” “Englishman In New York,” the raucous “She’s Too Good For Me,” “Fragile,” “Moon Over Bourbon Street,” and “Fields Of Gold.”
Throughout the performance, Sting stood aside several times, giving the stage to the perfect Royal Philharmonic Orchestra. The songs were rich and alive. But they’re not just Police and Sting songs with added orchestra. These, for the most part, have been rearranged and “reimagined” for this Symphonicities tour. So Gordon Sumner is enjoying his newest musical evolution. What could he possibly do next? Buy Sting’s Symphonicities out July 13.
Atlanta's Oryx & Crake deliver shining debut
The first track on the self-titled debut from Atlanta’s Oryx and Crake transports the listener to a melancholy place with its cello, guitar, and plaintive vocals of leader Ryan Peoples. Then the guitar gets fuzzy, harmonies are layered in, and the clouds part on the beautiful “Fun Funeral.”
The 9-person band has created a dazzling debut that is difficult to label. Among other things, instruments include guitar, bass, banjo, cello, electronic drums, a homemade midi, and a toy piano. Combine these with Peoples’ smooth and striking vocals harmonized with bandmates (including wife Rebekah Goode-Peoples), and deeply interesting lyrics and you have the magic that is Oryx and Crake.
Named after the Margret Atwood novel, Oryx and Crake have birthed their own version of fiction (because this sound cannot be real). Intentionally avoiding the easy hook that would guarantee radio play, O+C instead pursue an eclectic and uniquely stunning piece of work that should be on the radio.
“Bed Death” is at once a simple and complex piece with harmonies, effects, and a spooky bass line throughout. It’s the sort of hypnotic song that you’ll find yourself humming and singing hours later (“Bring it on back! / Bring it on back!”). Falling in the middle of the tracks are two catchy yet brief gems. “Superlady” starts off sounding like a five-year-old playing with the reel to reel but quickly gets mature, while “Pretty How Towns” is a countrified piece of work showcasing some nice banjo.
In the gorgeous “Unbound,” Peoples sings “Everyone is so tired of lugging you around / Everyone is so tired of you dragging us down.” This could be describing one of several possible stories, but seems to be an ode to an abusive parent (“The wooden spoon you used on us has broken.”). With hand claps keeping the beat, “Unbound” is a standout track. “Lullaby No. 1” ends the disc on a mellow note, sounding a bit like a 60’s Beach Boys ballad, but soon evolving into signature O+C, with the addition of more instruments and more personality.
After a few listens, this superb debut sounds like something from a band whose paid their dues; whose time has come. Rarely has a first outing been such an impressive recording. It takes most groups four or five records into their career to achieve such a solid accomplishment. Each of the nine songs on this self-titled debut has its own traits and tells a different story. This does not sound like anything else out there right now. That’s why music lovers owe it to themselves to discover Oryx and Crake now. This group of musicians, if they so desire, will be around for quite sometime.
You can find it on iTunes and more than likely be able to purchase the CD at the release party on August 28 at the EARL in Atlanta. You owe it to yourself to be there. Tickets can be found at Ticket Alternative or at the door.
The 9-person band has created a dazzling debut that is difficult to label. Among other things, instruments include guitar, bass, banjo, cello, electronic drums, a homemade midi, and a toy piano. Combine these with Peoples’ smooth and striking vocals harmonized with bandmates (including wife Rebekah Goode-Peoples), and deeply interesting lyrics and you have the magic that is Oryx and Crake.
Named after the Margret Atwood novel, Oryx and Crake have birthed their own version of fiction (because this sound cannot be real). Intentionally avoiding the easy hook that would guarantee radio play, O+C instead pursue an eclectic and uniquely stunning piece of work that should be on the radio.
“Bed Death” is at once a simple and complex piece with harmonies, effects, and a spooky bass line throughout. It’s the sort of hypnotic song that you’ll find yourself humming and singing hours later (“Bring it on back! / Bring it on back!”). Falling in the middle of the tracks are two catchy yet brief gems. “Superlady” starts off sounding like a five-year-old playing with the reel to reel but quickly gets mature, while “Pretty How Towns” is a countrified piece of work showcasing some nice banjo.
In the gorgeous “Unbound,” Peoples sings “Everyone is so tired of lugging you around / Everyone is so tired of you dragging us down.” This could be describing one of several possible stories, but seems to be an ode to an abusive parent (“The wooden spoon you used on us has broken.”). With hand claps keeping the beat, “Unbound” is a standout track. “Lullaby No. 1” ends the disc on a mellow note, sounding a bit like a 60’s Beach Boys ballad, but soon evolving into signature O+C, with the addition of more instruments and more personality.
After a few listens, this superb debut sounds like something from a band whose paid their dues; whose time has come. Rarely has a first outing been such an impressive recording. It takes most groups four or five records into their career to achieve such a solid accomplishment. Each of the nine songs on this self-titled debut has its own traits and tells a different story. This does not sound like anything else out there right now. That’s why music lovers owe it to themselves to discover Oryx and Crake now. This group of musicians, if they so desire, will be around for quite sometime.
You can find it on iTunes and more than likely be able to purchase the CD at the release party on August 28 at the EARL in Atlanta. You owe it to yourself to be there. Tickets can be found at Ticket Alternative or at the door.
Tuesday, June 15, 2010
Free Energy and friends burn up the Star Bar
Live Review: Free Energy, Jukebox the Ghost, & Miniature Tigers at the Star Bar in Atlanta, 6/3/10
As drummer Nick Shuminsky took the stage in his vintage Styx t-shirt, the room was transported to the 1970s with little chance of returning. Free Energy, the Philadelphia rock band (transplanted from Minnesota and transformed from the band Hockey Night), have enjoyed a rush of critical success since their March debut entitled Stuck on Nothing (DFA Records).
The first the fans heard out of the band was that cowbell. Then lead singer Paul Sprangers kicked in with the band’s namesake, “Free Energy” (“We're breakin out this time / Makin’ out with the wind / And I'm so disconnected / I'm never gonna check back in”). It’s an infectious song that got the small crowd going quick.
Lauded by Spin as an “excellent” band to watch for 2010" and a Rolling Stone "Best New band of 2010" (“It totally fu@%ing rules. Lighters up!”), and enjoying a slot on Letterman in March, Free Energy has definitely received the press.
Members of the band have based their reputations on the nostalgia of seventies music. On paper, this sounds like a ludicrous idea, especially given the fact that so much new music has become popular and “classic rock” has really not experienced any sort of resurgence. These songs have breathed new life into a genre of music once thought dead.
Wells is the typical rock singer, with his frequent “sweeeet” references and constant Mick-Jagger-finger-pointing. Other highlights included “Dream City,” “Hope Child,” and the latest single “Bang Pop.” The music was fresh, loud, and for the few people at the Star Bar that night, very danceable. The only negative was that is was not a packed house. Should have been.
Opening the show was the obviously caffeinated Miniature Tigers, who pretty much set the place ablaze (not a usual thing for a band opening for two other bands). Singer Charlie Brand reminded the crowd that he was doing ‘shrooms when writing most of these songs. Observing their stage antics, this was not hard to believe. Overall a very fun (and talented) group of musicians. They’ll set off on a headlining tour soon.
Stuck in the middle were Jukebox the Ghost. After seeing an “I Love Ben Folds” t-shirt in the crowd, the reason was evident. From the first notes from JTB, an obvious connection to Ben Folds was realized (they even opened for Folds in 2009). Folds made piano rock cool again (after the likes of Billy Joel and Elton John lost steam the past couple decades) and a connection to him is not necessarily a bad thing.
Oddly, the singer and pianist of JTB is also Ben (Thornewill), and has the chops to keep up with the best of them. “Under My Skin,” “Good Day,” and the catchy “Hold It In” were three selections played by the band.
This was a fantastic evening of three bands with refreshingly different sounds. As the night progressed, band members from all three groups jumped on and off the stage, singing along and playing various instruments (including a rain stick!), culminating with a musical-orgy-of-sorts when nearly every member of every band (plus a few fans) filled the tiny stage near the show’s end. It was fun and actually sounded good. Catch all three bands on the road this summer.
As drummer Nick Shuminsky took the stage in his vintage Styx t-shirt, the room was transported to the 1970s with little chance of returning. Free Energy, the Philadelphia rock band (transplanted from Minnesota and transformed from the band Hockey Night), have enjoyed a rush of critical success since their March debut entitled Stuck on Nothing (DFA Records).
The first the fans heard out of the band was that cowbell. Then lead singer Paul Sprangers kicked in with the band’s namesake, “Free Energy” (“We're breakin out this time / Makin’ out with the wind / And I'm so disconnected / I'm never gonna check back in”). It’s an infectious song that got the small crowd going quick.
Lauded by Spin as an “excellent” band to watch for 2010" and a Rolling Stone "Best New band of 2010" (“It totally fu@%ing rules. Lighters up!”), and enjoying a slot on Letterman in March, Free Energy has definitely received the press.
Members of the band have based their reputations on the nostalgia of seventies music. On paper, this sounds like a ludicrous idea, especially given the fact that so much new music has become popular and “classic rock” has really not experienced any sort of resurgence. These songs have breathed new life into a genre of music once thought dead.
Wells is the typical rock singer, with his frequent “sweeeet” references and constant Mick-Jagger-finger-pointing. Other highlights included “Dream City,” “Hope Child,” and the latest single “Bang Pop.” The music was fresh, loud, and for the few people at the Star Bar that night, very danceable. The only negative was that is was not a packed house. Should have been.
Opening the show was the obviously caffeinated Miniature Tigers, who pretty much set the place ablaze (not a usual thing for a band opening for two other bands). Singer Charlie Brand reminded the crowd that he was doing ‘shrooms when writing most of these songs. Observing their stage antics, this was not hard to believe. Overall a very fun (and talented) group of musicians. They’ll set off on a headlining tour soon.
Stuck in the middle were Jukebox the Ghost. After seeing an “I Love Ben Folds” t-shirt in the crowd, the reason was evident. From the first notes from JTB, an obvious connection to Ben Folds was realized (they even opened for Folds in 2009). Folds made piano rock cool again (after the likes of Billy Joel and Elton John lost steam the past couple decades) and a connection to him is not necessarily a bad thing.
Oddly, the singer and pianist of JTB is also Ben (Thornewill), and has the chops to keep up with the best of them. “Under My Skin,” “Good Day,” and the catchy “Hold It In” were three selections played by the band.
This was a fantastic evening of three bands with refreshingly different sounds. As the night progressed, band members from all three groups jumped on and off the stage, singing along and playing various instruments (including a rain stick!), culminating with a musical-orgy-of-sorts when nearly every member of every band (plus a few fans) filled the tiny stage near the show’s end. It was fun and actually sounded good. Catch all three bands on the road this summer.
Atlanta discovers ambient magic with One eskimO
Live review: One eskimO at Smith’s Olde Bar, 5/26/10
Smith’s Olde Bar in Atlanta was host to the ambient pop magic of One eskimO. The London, England foursome, led by singer Kristian Leontiou, is touring in support of their self-titled debut released last September on Shangri-La Records. Leontiou enjoyed widespread success in 2004 with his solo hit “Shining,” but felt unfulfilled and decided to take a different path in which he would have greater creative control.
One eskimO’s music is pure and fresh – so much so, that it was recently featured in a Toyota Prius environmentally friendly commercial. That song, which happens to be one of their most popular songs at the moment, is “Hometime.” It’s a beautiful and simple song that one may think will morph into a Led Zeppelin song, but never quite does (“Picture me in a boat on the sea / Five-fingered leaves keep covering me / Don't you know that the big Ferris wheel is eventually stalling?”).
The buzz, though, is all about “Kandi.” Included in the song is a sample of Candi Staton’s “He Called Me Baby.” This is four minutes of pure indie rock perfection and sounded great live (for the awesome animated version of this video, click here). Smith’s Olde Bar was near sell-out capacity and the crowd was appreciative of each and every song. Songs like “Astronaut” left the listeners feeling as if they were floating through space. That’s a good thing, by the way.
Acoustic/electric guitarist Pete Rinaldi sat in the back, where usually the drummer camps. Drummer Adam Falkner was stage right, with a motorcycle headlight drum set (very cool - working light and all). He is a multi-instrumentalist of the finest degree. From his drum kit/computer system, he made sounds that should not be possible from a mere four-piece. And the percussion was chest-thumping, something not present on the CD. Stage left was host to bassist/trumpet player Jamie Sefton, who simultaneously played the bass and trumpet on some songs.
Leontiou drifted into James Blunt-esque sounding vocals at times (a good thing on this night) and once in a while forayed into Mick Hucknell territory. But make no mistake, even with the excellent musicianship coming from the bandmates, the most precise and beautiful instrument was Leontiou’s voice. That voice is One eskimO. Just imagine Keane, but way easier to listen to.
Opening the show was The Frisco Touch. At least that’s how it was billed. The crowd was informed that they were really known as the Automatics. Or the Autumn Antics. Or the Autum Annex. No one really ever figured out who they were. Later research uncovered that, in fact, the band should’ve been called AutumnAttics. Having ties with Atlanta and Athens, GA, one could only attribute an “automatic” type name to a love of R.E.M. They did have the garage rock/near grunge thing going. Maybe a closer relative would be The Smithereens. Nonetheless, they warmed the crowd up for a great evening.
Smith’s Olde Bar in Atlanta was host to the ambient pop magic of One eskimO. The London, England foursome, led by singer Kristian Leontiou, is touring in support of their self-titled debut released last September on Shangri-La Records. Leontiou enjoyed widespread success in 2004 with his solo hit “Shining,” but felt unfulfilled and decided to take a different path in which he would have greater creative control.
One eskimO’s music is pure and fresh – so much so, that it was recently featured in a Toyota Prius environmentally friendly commercial. That song, which happens to be one of their most popular songs at the moment, is “Hometime.” It’s a beautiful and simple song that one may think will morph into a Led Zeppelin song, but never quite does (“Picture me in a boat on the sea / Five-fingered leaves keep covering me / Don't you know that the big Ferris wheel is eventually stalling?”).
The buzz, though, is all about “Kandi.” Included in the song is a sample of Candi Staton’s “He Called Me Baby.” This is four minutes of pure indie rock perfection and sounded great live (for the awesome animated version of this video, click here). Smith’s Olde Bar was near sell-out capacity and the crowd was appreciative of each and every song. Songs like “Astronaut” left the listeners feeling as if they were floating through space. That’s a good thing, by the way.
Acoustic/electric guitarist Pete Rinaldi sat in the back, where usually the drummer camps. Drummer Adam Falkner was stage right, with a motorcycle headlight drum set (very cool - working light and all). He is a multi-instrumentalist of the finest degree. From his drum kit/computer system, he made sounds that should not be possible from a mere four-piece. And the percussion was chest-thumping, something not present on the CD. Stage left was host to bassist/trumpet player Jamie Sefton, who simultaneously played the bass and trumpet on some songs.
Leontiou drifted into James Blunt-esque sounding vocals at times (a good thing on this night) and once in a while forayed into Mick Hucknell territory. But make no mistake, even with the excellent musicianship coming from the bandmates, the most precise and beautiful instrument was Leontiou’s voice. That voice is One eskimO. Just imagine Keane, but way easier to listen to.
Opening the show was The Frisco Touch. At least that’s how it was billed. The crowd was informed that they were really known as the Automatics. Or the Autumn Antics. Or the Autum Annex. No one really ever figured out who they were. Later research uncovered that, in fact, the band should’ve been called AutumnAttics. Having ties with Atlanta and Athens, GA, one could only attribute an “automatic” type name to a love of R.E.M. They did have the garage rock/near grunge thing going. Maybe a closer relative would be The Smithereens. Nonetheless, they warmed the crowd up for a great evening.
Free Energy travel to the 70s for debut
New release: Free Energy, Stuck on Nothing (DFA Records)
It has become the catch phrase for a generation: retro. From eighties post-punk/new wave to nineties grunge, many bands have made a mint restyling vintage music. But now there comes a band wanting to go even further back and relive the seventies. Not many have achieved positive results from this venture, but Free Energy has hit the mark.
On their debut album, Stuck on Nothing (DFA Records), the Philadelphia quintet stir up some cowbell and a whole lot of music that will make you want to hold your lighter high. The lead-off track, aptly entitled “Free Energy,” has frontman Paul Sprangers announcing, “This is all we’ve got tonight / This is all we’ve got tonight / We are young and still alive / Now the time is on our side,” as if he’s describing the band and their current status. After a not-so-pleasant break up in 2007 of their Minneapolis band Hockey Night, Sprangers and guitarist Scott Wells relocated to Philly where they formed Free Energy.
The likes of Spin, Rolling Stone, and Pitchfork have already deemed this band worthy of greatness, as one of 2010’s best new bands. Free Energy has drawn comparisons to Thin Lizzy, Cheap Trick, T. Rex, and numerous other bands that hit in the seventies. Surprisingly, Stuck on Nothing was released on James Murphy’s (LCD Soundsystem) DFA Records, known almost exclusively for its dance aesthetic. Free Energy is NOT considered a “dance” band, but one could wager that you’ll feel like dancing once you hear this stuff.
The fuzz guitar intro on “Dream City” evokes a déjà vu of Norman Greenbaum’s “Spirit In The Sky,” although it doesn’t seemed ripped off once Spranger’s singing begins. The song ends with a beautifully done saxophone that almost sounds like the English Beat’s Papa Saxa, but surely is not.
“Bang Pop” is the newest single and, once again, is a straight-ahead rock and roll melody that will beg you to sing along (“Bang, pop pop / When does this searching stop?"). There’s no such thing as complex lyrics and deep meanings on this record. Just fun tunes that will make you smile.
Free Energy sounds like that awesome bar band in college that you could not believe was not huge. Now they are. Check them out at a venue near you because they’re on tour and tickets are priced like you’re back in the seventies.
It has become the catch phrase for a generation: retro. From eighties post-punk/new wave to nineties grunge, many bands have made a mint restyling vintage music. But now there comes a band wanting to go even further back and relive the seventies. Not many have achieved positive results from this venture, but Free Energy has hit the mark.
On their debut album, Stuck on Nothing (DFA Records), the Philadelphia quintet stir up some cowbell and a whole lot of music that will make you want to hold your lighter high. The lead-off track, aptly entitled “Free Energy,” has frontman Paul Sprangers announcing, “This is all we’ve got tonight / This is all we’ve got tonight / We are young and still alive / Now the time is on our side,” as if he’s describing the band and their current status. After a not-so-pleasant break up in 2007 of their Minneapolis band Hockey Night, Sprangers and guitarist Scott Wells relocated to Philly where they formed Free Energy.
The likes of Spin, Rolling Stone, and Pitchfork have already deemed this band worthy of greatness, as one of 2010’s best new bands. Free Energy has drawn comparisons to Thin Lizzy, Cheap Trick, T. Rex, and numerous other bands that hit in the seventies. Surprisingly, Stuck on Nothing was released on James Murphy’s (LCD Soundsystem) DFA Records, known almost exclusively for its dance aesthetic. Free Energy is NOT considered a “dance” band, but one could wager that you’ll feel like dancing once you hear this stuff.
The fuzz guitar intro on “Dream City” evokes a déjà vu of Norman Greenbaum’s “Spirit In The Sky,” although it doesn’t seemed ripped off once Spranger’s singing begins. The song ends with a beautifully done saxophone that almost sounds like the English Beat’s Papa Saxa, but surely is not.
“Bang Pop” is the newest single and, once again, is a straight-ahead rock and roll melody that will beg you to sing along (“Bang, pop pop / When does this searching stop?"). There’s no such thing as complex lyrics and deep meanings on this record. Just fun tunes that will make you smile.
Free Energy sounds like that awesome bar band in college that you could not believe was not huge. Now they are. Check them out at a venue near you because they’re on tour and tickets are priced like you’re back in the seventies.
Wednesday, June 2, 2010
New release for Solex Vs. Cristina Martinez and Jon Spencer
NEW RELEASE: Solex Vs. Cristina Martinez + Jon Spencer Amsterdam Throwdown, King Street Showdown! (Bronze Rat Records)
Listening to this first ever collaboration among these three, one can only think of that line from St. Elmo’s Fire: “A metaphysical precision collision.” The Dutch goddess of electronic, Elisabeth Esselink (a.k.a. Solex), got the call to work with the husband-wife team of Cristina Martinez (Boss Hogg) and Jon Spencer (Blues Explosion, Heavy Trash) and jumped in. After a few months of emailing and overnight shipping, the trio had their creation.
Amsterdam Throwdown, King Street Showdown! is a mish-mash of musical genres. It’s as if someone tossed Motown, funk, punk, and jazz into a blender and cranked it up to 11. Martinez and Spencer contribute their share of talking, singing, and grunting on this new release (May 18). On “Don’t Hold Back,” Spencer sounds like vintage 70s Lou Reed while Martinez whispers in the background. If Twin Peaks ever returns to TV, this should be the soundtrack. Most selections on Showdown may cause confusion in the listener at first. There are so many things going on simultaneously that one may not be able to process it all until three or four solid listens. After that, good luck breaking the habit of your latest addiction.
“Galaxy Man” begins with a request from Martinez (“Come on baby and play that song / Come on baby”) that evolves into a heavy beat with off-kilter guitar, horns, and all the while Spencer talking into what sounds like a can (“Galaxy! / They call me the Galaxy Maaaan”). Some songs veer into the humor lane, as in “Dog Hit.” Martinez does a monotone talk/sing, “Do you know where your big barking dog is? / Just got hit by a car but he’s still fine” while Spencer growls lines throughout. Sort of the American funkadelic version of the Sugarcubes - just much darker.
Overall, Showdown injects the listener with groove, plain and simple. Let’s just say that James Brown would love this album. With the Solex touch making this a unique and excellent sound, a tour is in order. If they can just get together in the same country at the same time.
Listening to this first ever collaboration among these three, one can only think of that line from St. Elmo’s Fire: “A metaphysical precision collision.” The Dutch goddess of electronic, Elisabeth Esselink (a.k.a. Solex), got the call to work with the husband-wife team of Cristina Martinez (Boss Hogg) and Jon Spencer (Blues Explosion, Heavy Trash) and jumped in. After a few months of emailing and overnight shipping, the trio had their creation.
Amsterdam Throwdown, King Street Showdown! is a mish-mash of musical genres. It’s as if someone tossed Motown, funk, punk, and jazz into a blender and cranked it up to 11. Martinez and Spencer contribute their share of talking, singing, and grunting on this new release (May 18). On “Don’t Hold Back,” Spencer sounds like vintage 70s Lou Reed while Martinez whispers in the background. If Twin Peaks ever returns to TV, this should be the soundtrack. Most selections on Showdown may cause confusion in the listener at first. There are so many things going on simultaneously that one may not be able to process it all until three or four solid listens. After that, good luck breaking the habit of your latest addiction.
“Galaxy Man” begins with a request from Martinez (“Come on baby and play that song / Come on baby”) that evolves into a heavy beat with off-kilter guitar, horns, and all the while Spencer talking into what sounds like a can (“Galaxy! / They call me the Galaxy Maaaan”). Some songs veer into the humor lane, as in “Dog Hit.” Martinez does a monotone talk/sing, “Do you know where your big barking dog is? / Just got hit by a car but he’s still fine” while Spencer growls lines throughout. Sort of the American funkadelic version of the Sugarcubes - just much darker.
Overall, Showdown injects the listener with groove, plain and simple. Let’s just say that James Brown would love this album. With the Solex touch making this a unique and excellent sound, a tour is in order. If they can just get together in the same country at the same time.
Shelby Lynne & Findlay Brown bring soul to Atlanta
Live Review: Shelby Lynne & Findlay Brown at the Variety Playhouse in Atlanta, 5/15/10
The Variety Playhouse in Atlanta was home to a bluesy evening of entertainment. Shelby Lynne, on tour promoting her new release, Tears, Lies, and Alibis (Everso Records). She emoted her twang-laden song creations to a very supportive crowd. Decked out in a black t-shirt, black leather pants, and black cowboy boots, Lynne appears to be a punk/country hybrid. Even her new punked-out haircut was rebelling against The Man.
The Man, in this case, is the recording industry. After years of being “fed up” with record companies, Lynne has started her own Everso Records. Listening to her vent, one cannot help but also hear that big sigh of relief.
Lynne kicked off her first set with “Rains Came,” from Alibis. Most of the evening was dominated by new stuff off this excellent album. Other standout tracks included “Why Didn’t You Call Me?” “Like A Fool,” and “Alibi.” Often compared to such legends as Patty Loveless, Tanya Tucker, and Dusty Springfield, Lynne recorded an entire album of Dusty Springfield songs in 2008 entitled, Just A Little Lovin’ to critical acclaim.
On “Something To Be Said,” Lynne has penned a tribute to Airstream trailers. “I have a crush on Airstream trailers,” she said, before performing the song. “Thinking about how I love my country. We can get in a Cadillac with bologna sandwiches and go wherever the hell we want, with whoever the hell we want, and stay as long as we want” (“There’s something to be said about Airstreams / A rolling home made out of silver / There’s something to be said about Airstreams / Aww who’da thought art was a trailer”).
Lynne’s voice was bold and beautiful on this night, and the four-piece backing her up hit a bull’s eye with each song. She reminisced about her many performances in Atlanta and said that every time she plays here, she is torn. Then, dramatically switching gears, Lynne informed the audience, “Here’s a song I wrote about a whore.” After the laughter died down, she went on. “I like songs about whores. God knows we got enough of ‘em in this world. I don't mind good honest whores, just as long as the stay away from my shit” (from “Buttons And Beaus”).
The bluesiest of the blues came out loudly during Willie Nelson’s “Night Life.” Lynne connects will with old school country, while simultaneously identifying with the next generation. She also is infamous for speaking her mind, as when she told the crowd, “I live in California. When I bring the south out there, they get confused. I live in California so I can smoke weed when I want to. I can grow it too,” she confessed.
Shelby Lynne is tasting success that she has been working hard on for many years. It seems well deserved.
Opening the show was British singer/songwriter Findlay Brown. His affable personality and wonderful acoustic set surely gained new fans. Soon into his set, he told everyone, “I hope you like love songs. That’s about all I’ve got. You didn’t bring your dancing shoes, did you?” If you squint your eyes just right, Brown could be mistaken for a younger (and better looking) Ricky Gervais. After performing the title track to his latest release Love Will Find You (Verve), he begged, “That wasn’t so bad, was it?” He went on to say, “I’m shy. I am. That’s why we do this, us performers.”
Brown has been compared, rightly, to Roy Orbison, with his jet black, slicked back hair, his, fancy cowboy jacket, and especially his smooth and expressive voice. He articulated his love of America, telling the crowd that this is the land of all his musical heroes. He mentioned, among others, Elvis Presley, Johnny Cash, and Merle Haggard. He also spoke of his home of Yorkshire, England. “Do you know Yorkshire? On the moors? Do you remember that movie, An American Werewolf in London? And that pub in the movie called The Slaughtered Lamb? I grew up about an hour from there. Middle of nowhere.”
Among the songs performed, were “Don’t You Know I Love You,” “If I Could Do It Again (I’d Do It With You),” “Everybody Needs Love,” and “Come Home.” Brown uses his self-deprecating humor to his advantage, pulling listeners ever closer to his performance. “Must be kind of boring, one guy standing up here with a guitar.” To this, the audience yelled, “No!”
Findlay Brown has all the tools to become this generation’s crooner. People just need to hear him.
The Variety Playhouse in Atlanta was home to a bluesy evening of entertainment. Shelby Lynne, on tour promoting her new release, Tears, Lies, and Alibis (Everso Records). She emoted her twang-laden song creations to a very supportive crowd. Decked out in a black t-shirt, black leather pants, and black cowboy boots, Lynne appears to be a punk/country hybrid. Even her new punked-out haircut was rebelling against The Man.
The Man, in this case, is the recording industry. After years of being “fed up” with record companies, Lynne has started her own Everso Records. Listening to her vent, one cannot help but also hear that big sigh of relief.
Lynne kicked off her first set with “Rains Came,” from Alibis. Most of the evening was dominated by new stuff off this excellent album. Other standout tracks included “Why Didn’t You Call Me?” “Like A Fool,” and “Alibi.” Often compared to such legends as Patty Loveless, Tanya Tucker, and Dusty Springfield, Lynne recorded an entire album of Dusty Springfield songs in 2008 entitled, Just A Little Lovin’ to critical acclaim.
On “Something To Be Said,” Lynne has penned a tribute to Airstream trailers. “I have a crush on Airstream trailers,” she said, before performing the song. “Thinking about how I love my country. We can get in a Cadillac with bologna sandwiches and go wherever the hell we want, with whoever the hell we want, and stay as long as we want” (“There’s something to be said about Airstreams / A rolling home made out of silver / There’s something to be said about Airstreams / Aww who’da thought art was a trailer”).
Lynne’s voice was bold and beautiful on this night, and the four-piece backing her up hit a bull’s eye with each song. She reminisced about her many performances in Atlanta and said that every time she plays here, she is torn. Then, dramatically switching gears, Lynne informed the audience, “Here’s a song I wrote about a whore.” After the laughter died down, she went on. “I like songs about whores. God knows we got enough of ‘em in this world. I don't mind good honest whores, just as long as the stay away from my shit” (from “Buttons And Beaus”).
The bluesiest of the blues came out loudly during Willie Nelson’s “Night Life.” Lynne connects will with old school country, while simultaneously identifying with the next generation. She also is infamous for speaking her mind, as when she told the crowd, “I live in California. When I bring the south out there, they get confused. I live in California so I can smoke weed when I want to. I can grow it too,” she confessed.
Shelby Lynne is tasting success that she has been working hard on for many years. It seems well deserved.
Opening the show was British singer/songwriter Findlay Brown. His affable personality and wonderful acoustic set surely gained new fans. Soon into his set, he told everyone, “I hope you like love songs. That’s about all I’ve got. You didn’t bring your dancing shoes, did you?” If you squint your eyes just right, Brown could be mistaken for a younger (and better looking) Ricky Gervais. After performing the title track to his latest release Love Will Find You (Verve), he begged, “That wasn’t so bad, was it?” He went on to say, “I’m shy. I am. That’s why we do this, us performers.”
Brown has been compared, rightly, to Roy Orbison, with his jet black, slicked back hair, his, fancy cowboy jacket, and especially his smooth and expressive voice. He articulated his love of America, telling the crowd that this is the land of all his musical heroes. He mentioned, among others, Elvis Presley, Johnny Cash, and Merle Haggard. He also spoke of his home of Yorkshire, England. “Do you know Yorkshire? On the moors? Do you remember that movie, An American Werewolf in London? And that pub in the movie called The Slaughtered Lamb? I grew up about an hour from there. Middle of nowhere.”
Among the songs performed, were “Don’t You Know I Love You,” “If I Could Do It Again (I’d Do It With You),” “Everybody Needs Love,” and “Come Home.” Brown uses his self-deprecating humor to his advantage, pulling listeners ever closer to his performance. “Must be kind of boring, one guy standing up here with a guitar.” To this, the audience yelled, “No!”
Findlay Brown has all the tools to become this generation’s crooner. People just need to hear him.
Friday, May 14, 2010
Beach House and Washed Out chill the EARL
Live Review: Beach House w/Washed Out, The EARL in Atlanta, 4/29/10
Baltimore duo Beach House brought their dream pop/indie rock grooviness to Atlanta recently at a sold out EARL. Riding the wave of success from their third studio album Teen Dream (Sub Pop), Baltimore native Alex Scally and French-born Victoria LeGrand illustrated how to paint with music. The new release topped the college charts earlier this year and has been an indie favorite.
Telling the crowd, “This is our fourth time playing the EARL,” Scally may be wondering why the venues have not increased in size since the inception of Beach House in 2004. That’s only a matter of time, as college stations and indie fans across the country are pushing them to the top.
Selections of their dreamy and beautiful music included “Used To Be,” “You Came To Me,” “Norway,” “Apple Orchard,” and the golden sounds of “Zebra” (“Any way you run, you run before us / Black and white horse arching among us”).
Opening the show was Georgia’s own Washed Out (a.k.a. Ernest Greene). Greene came to prominence at this year’s SXSW show and continues to gain fans with each performance. After recently earning his master’s degree, he moved back in with his parents in Macon while desperately searching for work. In his spare time, he dabbled on his laptop making music. After a MySpace page garnered some record executive attention, he was offered a deal.
Washed Out is on top of the new Chill Wave movement and has a static-y, synthpop 80s feel. While mostly instrumental, Greene does add soaring, echoing, and often looped vocals. Overall, he has a nice sound. His debut EP, Life of Leisure (Mexican Summer), was just released in March and has been making the rounds. Greene has made mention of his friendship with Chaz (Toro Y Moi). Both artists are redefining music for the 21st century (in a good way).
Fans heard pretty much all of Washed Out’s EP, which is all of six songs. Don’t fret, though. More is on the way.
Baltimore duo Beach House brought their dream pop/indie rock grooviness to Atlanta recently at a sold out EARL. Riding the wave of success from their third studio album Teen Dream (Sub Pop), Baltimore native Alex Scally and French-born Victoria LeGrand illustrated how to paint with music. The new release topped the college charts earlier this year and has been an indie favorite.
Telling the crowd, “This is our fourth time playing the EARL,” Scally may be wondering why the venues have not increased in size since the inception of Beach House in 2004. That’s only a matter of time, as college stations and indie fans across the country are pushing them to the top.
Selections of their dreamy and beautiful music included “Used To Be,” “You Came To Me,” “Norway,” “Apple Orchard,” and the golden sounds of “Zebra” (“Any way you run, you run before us / Black and white horse arching among us”).
Opening the show was Georgia’s own Washed Out (a.k.a. Ernest Greene). Greene came to prominence at this year’s SXSW show and continues to gain fans with each performance. After recently earning his master’s degree, he moved back in with his parents in Macon while desperately searching for work. In his spare time, he dabbled on his laptop making music. After a MySpace page garnered some record executive attention, he was offered a deal.
Washed Out is on top of the new Chill Wave movement and has a static-y, synthpop 80s feel. While mostly instrumental, Greene does add soaring, echoing, and often looped vocals. Overall, he has a nice sound. His debut EP, Life of Leisure (Mexican Summer), was just released in March and has been making the rounds. Greene has made mention of his friendship with Chaz (Toro Y Moi). Both artists are redefining music for the 21st century (in a good way).
Fans heard pretty much all of Washed Out’s EP, which is all of six songs. Don’t fret, though. More is on the way.
Sunday, April 11, 2010
Vampire Weekend live in Atlanta, 4/8/10
Lead singer Ezra Koenig celebrated his twenty-sixth birthday in front of a sold-out, hyperactive crowd in the confines of Atlanta’s fabulous Tabernacle. But the usual birthday celebration it was not. Vampire Weekend – touring in support of their new release Contra – are on top of the world in terms of popularity. For such a brief existence (2006), the band has achieved success the likes of which most bands only dream (those who do reach it are much older with years of struggles). Named “Best New Band” by Spin magazine in 2008, Vampire Weekend never really had to struggle. And when Contra debuted at number one on the Billboard 200 in January 2010, it was apparent that more than a few people loved this band.
To put Vampire Weekend’s sound into a category is difficult. They have been labeled, among other things, indie rock, world beat, chamber pop, and Upper West Side Soweto. However one may describe their sound, there is no doubt that it is kinetic, hyper, danceable, and highly enjoyable.
The band opened the show with the heavily-Paul-Simon-influenced “White Sky” from Contra. Next up was the ultra-manic “Holiday.” The crowd, already whipped into a seemingly uncontrollable frenzy, would not stop moving and jumping and singing until show’s end. Koenig’s smooth and likeable voice possessed great range and tone. On synthesizers, Mac, and occasionally guitar, Rostam Batmanglij has defined Vampire Weekend’s eclectic sound. He produced both albums and brings evidence of all those “labels” to the table. On drums, Chris Tomson adds to the speed of most songs, while bassist Chris Baio clearly feels the energy and apparently is no stranger to caffeine, dancing to every song as if he took lessons from Molly Ringwold. He enjoyed being there as much as the biggest fan. After finding each other at Columbia University, they formed the band that dresses Ivy League and looks like they’re forever trapped in 1980’s Massachusetts.
“Cape Cod Kwassa Kwassa” is a beautiful tune with the feel of the islands in the underlying groove. It is such a special song, in fact, that Peter Gabriel himself has done a cover of it. His name is dropped in it, after all (“But it feels so unnatural, Peter Gabriel too”). On “A-Punk,” the terrific number from the first album, the boys give a nod to the Ramones (“ay, ay, ay!”). The 100-year-old Tabernacle was shaking with half the crowd jumping up and down during this one.
Of the 21 songs from their two albums, they ended up playing 19 of those. At one point, Koenig announced, “We’re pulling from our back catalog for this one.” Back catalog? It’s only two years ago, Ezra! The new “Diplomat’s Son” begins with a wicked M.I.A. sample just before everything falls into its right place.
After playing for exactly one hour (remember, only two albums), the boys departed the stage for a short breather and a change out of their sopping wet clothes. One encore included “Horchata” with its African drumbeats, choruses of chanting, and steel drum goodness (“In December drinking horchata / I'd look psychotic in a balaclava / Winter's cold is too much to handle / Pincher crabs that pinch at your sandals / Whoaaaaa ooooh), “Mansard Roof,” and “Walcott” (“Walcott, don't you know that it's insane? / Don't you want to get out of Cape Cod, out of Cape Cod tonight?”). Well, Vampire Weekend have officially left Cape Cod and they don’t appear to be looking back.
Opening the evening was L.A.’s Abe Vigoda, an indie rock band with gothy undertones who were a good fit in this slot. When lead singer/guitarist Michael Vidal broke a string and was gone for what seemed like five minutes, another band member told the audience, “He’s very sensitive. We all only have one guitar each.” Ah, the plight of the opening band. Overall, though, Abe was very well received and played some fine rock and roll selections to a house full of Vampire Weekend fans.
Set List
White Sky
Holiday
Cape Cod Kwassa Kwassa
I Stand Corrected
M79
Bryn
California English
Cousins
Taxi Cab
Run
A-Punk
One (Blake’s Got A New Face)
Diplomat’s Son
Giving Up The Gun
Campus
Oxford Comma
Encore
Horchata
Mansard Roof
Walcott
To put Vampire Weekend’s sound into a category is difficult. They have been labeled, among other things, indie rock, world beat, chamber pop, and Upper West Side Soweto. However one may describe their sound, there is no doubt that it is kinetic, hyper, danceable, and highly enjoyable.
The band opened the show with the heavily-Paul-Simon-influenced “White Sky” from Contra. Next up was the ultra-manic “Holiday.” The crowd, already whipped into a seemingly uncontrollable frenzy, would not stop moving and jumping and singing until show’s end. Koenig’s smooth and likeable voice possessed great range and tone. On synthesizers, Mac, and occasionally guitar, Rostam Batmanglij has defined Vampire Weekend’s eclectic sound. He produced both albums and brings evidence of all those “labels” to the table. On drums, Chris Tomson adds to the speed of most songs, while bassist Chris Baio clearly feels the energy and apparently is no stranger to caffeine, dancing to every song as if he took lessons from Molly Ringwold. He enjoyed being there as much as the biggest fan. After finding each other at Columbia University, they formed the band that dresses Ivy League and looks like they’re forever trapped in 1980’s Massachusetts.
“Cape Cod Kwassa Kwassa” is a beautiful tune with the feel of the islands in the underlying groove. It is such a special song, in fact, that Peter Gabriel himself has done a cover of it. His name is dropped in it, after all (“But it feels so unnatural, Peter Gabriel too”). On “A-Punk,” the terrific number from the first album, the boys give a nod to the Ramones (“ay, ay, ay!”). The 100-year-old Tabernacle was shaking with half the crowd jumping up and down during this one.
Of the 21 songs from their two albums, they ended up playing 19 of those. At one point, Koenig announced, “We’re pulling from our back catalog for this one.” Back catalog? It’s only two years ago, Ezra! The new “Diplomat’s Son” begins with a wicked M.I.A. sample just before everything falls into its right place.
After playing for exactly one hour (remember, only two albums), the boys departed the stage for a short breather and a change out of their sopping wet clothes. One encore included “Horchata” with its African drumbeats, choruses of chanting, and steel drum goodness (“In December drinking horchata / I'd look psychotic in a balaclava / Winter's cold is too much to handle / Pincher crabs that pinch at your sandals / Whoaaaaa ooooh), “Mansard Roof,” and “Walcott” (“Walcott, don't you know that it's insane? / Don't you want to get out of Cape Cod, out of Cape Cod tonight?”). Well, Vampire Weekend have officially left Cape Cod and they don’t appear to be looking back.
Opening the evening was L.A.’s Abe Vigoda, an indie rock band with gothy undertones who were a good fit in this slot. When lead singer/guitarist Michael Vidal broke a string and was gone for what seemed like five minutes, another band member told the audience, “He’s very sensitive. We all only have one guitar each.” Ah, the plight of the opening band. Overall, though, Abe was very well received and played some fine rock and roll selections to a house full of Vampire Weekend fans.
Set List
White Sky
Holiday
Cape Cod Kwassa Kwassa
I Stand Corrected
M79
Bryn
California English
Cousins
Taxi Cab
Run
A-Punk
One (Blake’s Got A New Face)
Diplomat’s Son
Giving Up The Gun
Campus
Oxford Comma
Encore
Horchata
Mansard Roof
Walcott
Wednesday, March 31, 2010
117. WILCO, 3/26/10
Venue: The Fabulous Fox Theatre, Atlanta
Support: None needed
In the Company of: Peter & Shazia
Wilco (The Experience)
The Wilco experience is something to anticipate and savor. Jeff Tweedy leads a group of musicians who are dedicated to making excellent music. From back in his Uncle Tupelo days, Tweedy has weaved his craft, balancing alt-country with alt-rock on the high wire of everything in between. Touring in support of their latest album, Wilco (The Album), the band played an inspired two hour and fifty minute set at the sold-out Fabulous Fox Theatre in Atlanta.
As the lights dimmed, fans heard a robotic voice discussing “What we don’t want you to do” (pictures, video) and “What we do want you to do” (audio recording, sing along, song requests). Shortly afterward, on came the Price is Right theme song and Wilco took to the stage to screaming fans. The band began the evening with – what else – “Wilco (The Song)” (“Are you under the impression / This isn't your life / Do you dabble in depression / Is someone twisting a knife in your back / Are you being attacked / Oh, this is a fact that you need to know oh, oh, oh, oh / Wilco, Wilco, Wilco will love you baby”). Between notes as the song ended, that robotic voice introduced each member of the band.
During one of Tweedy’s numerous exchanges with fans, some guy down front complained that his friend was kicked out for taking a picture. Tweedy said, “He took a picture, was warned, and took another one, right? Isn’t that how it happened? (all the while smiling and nodding his head.) Well, I can’t help you, buddy.” As the guy continued his complaining, Tweedy said, “Okay, I don’t want to hear from you anymore. It’s not all about you, ya know!” When the crowd erupted in laughter and applause, the guy threw his ticket in the air and stomped off. He later returned, and Tweedy said, “Did you get everything worked out? I thought you were gone. That was quite a tantrum. I’m glad you worked everything out!”
Moving on, one of the evening’s highlights had to be “Impossible Germany.” This song stood out particularly due to the guitar wizardry of Nels Cline. He blew away everyone in the house with his style and sonic power. Incredible. Even more incredible was Cline’s transition into Wilco’s acoustic set. Lamps were brought out on stage, drummer extraordinaire Glenn Kotche had a mobile drum kit set up right in front, and all guitars were acoustics. The boys played about eight songs acoustically, including a nice version of “Casino Queen.” “This is the way we like to play,” Tweedy informed. In between songs, he called out names of some lucky fans who had placed song requests on the Wilco World website and handed them gift certificates to local restaurants. Nice touch.
“Passenger Side” tells the story of riding with someone less than sober (“Hey, wake up, your eyes weren't open wide / For the last couple of miles you've been swerving from side to side / You're gonna make me spill my beer if you don't learn how to steer”).
Before the beautiful “Jesus, Etc.” was performed, Tweedy asked the audience to sing along. Then he said, “Why don’t you just sing it on your own?” So, the crowd of Wilco fans sang every word as if they had been rehearsing for this. It was a glorious sound. Afterward, he exclaimed, “That was really good…that was exceptional…that was ground breaking!” The band went on to dedicate another song to the future wife of their drum tech (she was in the audience). “I could have done it tonight,” Tweedy said, “because I’m an ordained minister.”
As the evening progressed, the fans remained standing. The lush padding of the Fabulous Fox Theatre’s comfy seats was never utilized. The Crowd stood the entire show (even much of the balcony). Tweedy recognized this and was impressed.
After they said their thank yous and goodnights, there was one encore. “This is for Alex Chilton,” Tweedy announced, and proceeded to play Big Stars’ “Thank You, Friends.” Most of the band took a shot at singing a verse or two, to honor the late Chilton. There was no opening band, as no one else could really live up to this night.
Set List:
Wilco (The Song)
I Am Trying to Break Your Heart
Bull Black Nova
You Are My Face
One Wing
A Shot in the Arm
Side with the Seeds
Deeper Down
Nothing'severgonnastandinmyway(again)
Wishful Thinking
Impossible Germany
California Stars
Poor Place
Acoustic Set:
Spiders (Kidsmoke)
Far, Far Away
You and I
Laminated Cat
War on War
Hesitating Beauty
Casino Queen
Passenger Side
Airline to Heaven
Via Chicago
Handshake Drugs
You Never Know
Heavy Metal Drummer
Can't Stand It
Jesus, Etc.
Theologians
Hate It Here
Walken
I'm the Man Who Loves You
I'm a Wheel
Encore:
Thank You, Friends
Support: None needed
In the Company of: Peter & Shazia
Wilco (The Experience)
The Wilco experience is something to anticipate and savor. Jeff Tweedy leads a group of musicians who are dedicated to making excellent music. From back in his Uncle Tupelo days, Tweedy has weaved his craft, balancing alt-country with alt-rock on the high wire of everything in between. Touring in support of their latest album, Wilco (The Album), the band played an inspired two hour and fifty minute set at the sold-out Fabulous Fox Theatre in Atlanta.
As the lights dimmed, fans heard a robotic voice discussing “What we don’t want you to do” (pictures, video) and “What we do want you to do” (audio recording, sing along, song requests). Shortly afterward, on came the Price is Right theme song and Wilco took to the stage to screaming fans. The band began the evening with – what else – “Wilco (The Song)” (“Are you under the impression / This isn't your life / Do you dabble in depression / Is someone twisting a knife in your back / Are you being attacked / Oh, this is a fact that you need to know oh, oh, oh, oh / Wilco, Wilco, Wilco will love you baby”). Between notes as the song ended, that robotic voice introduced each member of the band.
During one of Tweedy’s numerous exchanges with fans, some guy down front complained that his friend was kicked out for taking a picture. Tweedy said, “He took a picture, was warned, and took another one, right? Isn’t that how it happened? (all the while smiling and nodding his head.) Well, I can’t help you, buddy.” As the guy continued his complaining, Tweedy said, “Okay, I don’t want to hear from you anymore. It’s not all about you, ya know!” When the crowd erupted in laughter and applause, the guy threw his ticket in the air and stomped off. He later returned, and Tweedy said, “Did you get everything worked out? I thought you were gone. That was quite a tantrum. I’m glad you worked everything out!”
Moving on, one of the evening’s highlights had to be “Impossible Germany.” This song stood out particularly due to the guitar wizardry of Nels Cline. He blew away everyone in the house with his style and sonic power. Incredible. Even more incredible was Cline’s transition into Wilco’s acoustic set. Lamps were brought out on stage, drummer extraordinaire Glenn Kotche had a mobile drum kit set up right in front, and all guitars were acoustics. The boys played about eight songs acoustically, including a nice version of “Casino Queen.” “This is the way we like to play,” Tweedy informed. In between songs, he called out names of some lucky fans who had placed song requests on the Wilco World website and handed them gift certificates to local restaurants. Nice touch.
“Passenger Side” tells the story of riding with someone less than sober (“Hey, wake up, your eyes weren't open wide / For the last couple of miles you've been swerving from side to side / You're gonna make me spill my beer if you don't learn how to steer”).
Before the beautiful “Jesus, Etc.” was performed, Tweedy asked the audience to sing along. Then he said, “Why don’t you just sing it on your own?” So, the crowd of Wilco fans sang every word as if they had been rehearsing for this. It was a glorious sound. Afterward, he exclaimed, “That was really good…that was exceptional…that was ground breaking!” The band went on to dedicate another song to the future wife of their drum tech (she was in the audience). “I could have done it tonight,” Tweedy said, “because I’m an ordained minister.”
As the evening progressed, the fans remained standing. The lush padding of the Fabulous Fox Theatre’s comfy seats was never utilized. The Crowd stood the entire show (even much of the balcony). Tweedy recognized this and was impressed.
After they said their thank yous and goodnights, there was one encore. “This is for Alex Chilton,” Tweedy announced, and proceeded to play Big Stars’ “Thank You, Friends.” Most of the band took a shot at singing a verse or two, to honor the late Chilton. There was no opening band, as no one else could really live up to this night.
Set List:
Wilco (The Song)
I Am Trying to Break Your Heart
Bull Black Nova
You Are My Face
One Wing
A Shot in the Arm
Side with the Seeds
Deeper Down
Nothing'severgonnastandinmyway(again)
Wishful Thinking
Impossible Germany
California Stars
Poor Place
Acoustic Set:
Spiders (Kidsmoke)
Far, Far Away
You and I
Laminated Cat
War on War
Hesitating Beauty
Casino Queen
Passenger Side
Airline to Heaven
Via Chicago
Handshake Drugs
You Never Know
Heavy Metal Drummer
Can't Stand It
Jesus, Etc.
Theologians
Hate It Here
Walken
I'm the Man Who Loves You
I'm a Wheel
Encore:
Thank You, Friends
Sunday, March 28, 2010
116. THE RUBY SUNS, 3/22/10
Venue: The Drunken Unicorn
Support: Toro Y Moi, Oryx & Crake
In the Company of: Thomas S.
Hailing from Auckland, New Zealand, The Ruby Suns are a long way from home to be playing in such a tiny venue. Atlanta’s Drunken Unicorn is a signless hole-in-the-wall reserved for up-and-comers, mostly local. But once in a while, a band comes through these doors with a bit more to offer. Leader and native Californian Ryan McPhun moved to New Zealand in 2004. Formerly of the Brunettes, McPhun is a multi-instrumentalist who has crafted some nice psychedelic pop songs with a touch of the tropics transported here from NZ.
Touring in support of their third studio album, Fight Softly (Sub Pop), the Ruby Suns spun some foot-tapping songs combining indie rock with world beats. At times, all three members were banging on drums. But usually, the tunes were made up of two synths and a drummer. With danceable beats and McPhun’s smooth voice, it frequently seemed as if all these people were enjoying an 80s new wave performance…in Hawaii. Song highlights included “Olympics On Pot,” “Kenya Dig It?,” “There Are Birds,” and “Cranberry.”
While the Unicorn was not packed to the rafters, it should have been. It was a rainy Monday night, but still, many music fans missed out on this show. Go to www.myspace.com/therubysuns to find out where the Suns will be playing near you. It’s a cheap ticket for a great show.
Opening the show was the hugeness of Oryx & Crake from Atlanta. Just think Arcade Fire meets Broken Social Scene, simply due to the volume of members and the sound they created. On this night in Atlanta, eight people crowded the tiny stage of the Unicorn. Fans experienced the likes of drums, guitars, violin, banjo, keyboards, etc. throughout the set. With fine voices and musicianship all around, Oryx & Crake have a promising future (http://www.myspace.com/oryxandcrakeband).
In the on-deck slot was Toro Y Moi, a.k.a. Chaz from Columbia, SC. Hot off his performance at Austin’s SXSW show (along with The Ruby Suns), this artist is gaining fans and attention. Associated most recently with the chill wave and glo-fi movement, TYM has etched out a unique place all for himself. With a 95% synth-created performance (and 5% guitar), he definitely stood out from the other two bands. Maybe best known for his cover of Michael Jackson’s “Human Nature” (which he did not play), Chaz is so much more. Catch up with him at http://www.myspace.com/toroymoi.
Support: Toro Y Moi, Oryx & Crake
In the Company of: Thomas S.
Hailing from Auckland, New Zealand, The Ruby Suns are a long way from home to be playing in such a tiny venue. Atlanta’s Drunken Unicorn is a signless hole-in-the-wall reserved for up-and-comers, mostly local. But once in a while, a band comes through these doors with a bit more to offer. Leader and native Californian Ryan McPhun moved to New Zealand in 2004. Formerly of the Brunettes, McPhun is a multi-instrumentalist who has crafted some nice psychedelic pop songs with a touch of the tropics transported here from NZ.
Touring in support of their third studio album, Fight Softly (Sub Pop), the Ruby Suns spun some foot-tapping songs combining indie rock with world beats. At times, all three members were banging on drums. But usually, the tunes were made up of two synths and a drummer. With danceable beats and McPhun’s smooth voice, it frequently seemed as if all these people were enjoying an 80s new wave performance…in Hawaii. Song highlights included “Olympics On Pot,” “Kenya Dig It?,” “There Are Birds,” and “Cranberry.”
While the Unicorn was not packed to the rafters, it should have been. It was a rainy Monday night, but still, many music fans missed out on this show. Go to www.myspace.com/therubysuns to find out where the Suns will be playing near you. It’s a cheap ticket for a great show.
Opening the show was the hugeness of Oryx & Crake from Atlanta. Just think Arcade Fire meets Broken Social Scene, simply due to the volume of members and the sound they created. On this night in Atlanta, eight people crowded the tiny stage of the Unicorn. Fans experienced the likes of drums, guitars, violin, banjo, keyboards, etc. throughout the set. With fine voices and musicianship all around, Oryx & Crake have a promising future (http://www.myspace.com/oryxandcrakeband).
In the on-deck slot was Toro Y Moi, a.k.a. Chaz from Columbia, SC. Hot off his performance at Austin’s SXSW show (along with The Ruby Suns), this artist is gaining fans and attention. Associated most recently with the chill wave and glo-fi movement, TYM has etched out a unique place all for himself. With a 95% synth-created performance (and 5% guitar), he definitely stood out from the other two bands. Maybe best known for his cover of Michael Jackson’s “Human Nature” (which he did not play), Chaz is so much more. Catch up with him at http://www.myspace.com/toroymoi.
Thursday, March 25, 2010
115. SPOON, 3/20/10
Venue: The Tabernacle, Atlanta
Support: Deerhunter, Strange Boys
In the Company of: Chris, Joby S., Peter M.
Based in the musically rich Mecca of Austin, Texas, Spoon have lived a roller coaster ride of success. When singer Britt Daniel joined forces with Jim Eno in 1994, little did they know that they would become indie rock gods. It just took a while. Throughout the nineties, they were off and on record labels, becoming the poster children for what not to do with a musical career. Finally, in 2001, they released Girls Can Tell, and began a relationship with Merge Records that exists to this day.
Spoon’s seventh studio album, Transference, debuted at #4 on the Billboard 200 in January. While not as poppy and accessible as 2007’s huge hit Ga Ga Ga Ga Ga, Transference is a solid outing with many examples of a band stretching itself to evolve. While Ga Ga was the bands best selling record to date, Daniel will not rest on his laurels. He wants to push his band as well as his fans.
Touring in support of Transference, the band stopped by Atlanta’s awesome Tabernacle Saturday night. It was a sold-out, standing room only crowd of old and new fans alike. Judging from the positive responses to some “oldies,” it appeared that the venue was full of serious Spooners.
The band walked on stage wearing all black. Lit panels made up the backdrop, which changed colors frequently. For the first several songs, the lighting was kept at a minimum, not unlike the beginning the album – a bit dark. Alongside Daniel and Eno, former Get Up Kids bassist Rob Pope and keyboardist/guitarist Eric Harvey round out the band. The brooding bass line and catchy lyrics of “Mystery Zone” kicked things off.
By the second song, Spoon traveled back two albums to Gimme Fiction’s “The Beast And Dragon, Adored.” This is classic Spoon and a fan favorite. The evening was an even mix of old and new. Nine of the eleven tracks from Transference were performed, all to positive feedback from the audience. All totaled, 24 songs were performed with two encores.
Highlights included the emotional rescue of “I Turn My Camera On,” “I Summon You,” “Don’t You Evah,” “Trouble Comes Running,” the terrific piano driven jumpiness of “The Way We Get By,” and a full rocking version – drums and all – of “Small Stakes” (“Small time danger in your midsize car / I don’t dig the stripes but I’ll go for Har Mar / The big innovation on the minimum wage / Is lines up your nose but your life on the page / So c’mon…tell me I’m wrong”). Actually, on this evening, every song was a highlight. Some fans go to shows hoping a band does their album justice. Spoon exceed expectations, offering up performances superior to their recorded material. This band just must be experienced live. Daniel is a passionate and fiery performer with exceptional guitar skills. He was in the groove the entire evening and kept the crowd there, as well.
While Spoon has had their ups and downs, it seems as if they’re in for a future of “ups.” On this night, Spoon was the tightest four-piece on the planet. Even with two encores, the band left fans wanting more.
Opening the show were fellow Austin natives Strange Boys. This may be an apt name, as lead singer Ryan Sambol has a “unique” voice. It could almost be compared to a young Bob Dylan, but with better enunciation (with a touch of Julian Casablancas thrown in). While that voice was sometimes hard to get around, the music was very good. There were various ingredients, including twang, country, and plenty of sixties feel (all played in a garage).
Atlanta natives Deerhunter were up next. Bradford Cox leads this indie rock outfit he describes as “ambient punk.” Listeners may hear the band’s influences of Echo and the Bunnymen, David Bowie, and Brian Eno coming through in their live performance. Between songs, Cox made several references to his mother, aunt, and cousins who were in attendance.
Deerhunter’s post-punk feel went over well with the crowd. Excellent musicianship and strong vocals promise to offer a lot of exposure for these guys in the future. An opening slot on the Spoon tour won’t hurt, either.
Set list
Mystery Zone
The Beast and Dragon, Adored
My Mathematical Mind
Someone Something
The Ghost of You Lingers
Is Love Forever
Goodnight Laura
I Turn My Camera On
Written in Reverse
Who Makes Your Money
Don’t Make Me a Target
Out Go the Lights
The Underdog
I Summon You
Got Nuffin’
Don’t You Evah
Trouble Comes Running
Black Like Me
Encore 1
The Way We Get By
Nobody Gets Me But You
Vittorio E.
Encore 2
Rhythm and Soul
Small Stakes
Cherry Bomb
Support: Deerhunter, Strange Boys
In the Company of: Chris, Joby S., Peter M.
Based in the musically rich Mecca of Austin, Texas, Spoon have lived a roller coaster ride of success. When singer Britt Daniel joined forces with Jim Eno in 1994, little did they know that they would become indie rock gods. It just took a while. Throughout the nineties, they were off and on record labels, becoming the poster children for what not to do with a musical career. Finally, in 2001, they released Girls Can Tell, and began a relationship with Merge Records that exists to this day.
Spoon’s seventh studio album, Transference, debuted at #4 on the Billboard 200 in January. While not as poppy and accessible as 2007’s huge hit Ga Ga Ga Ga Ga, Transference is a solid outing with many examples of a band stretching itself to evolve. While Ga Ga was the bands best selling record to date, Daniel will not rest on his laurels. He wants to push his band as well as his fans.
Touring in support of Transference, the band stopped by Atlanta’s awesome Tabernacle Saturday night. It was a sold-out, standing room only crowd of old and new fans alike. Judging from the positive responses to some “oldies,” it appeared that the venue was full of serious Spooners.
The band walked on stage wearing all black. Lit panels made up the backdrop, which changed colors frequently. For the first several songs, the lighting was kept at a minimum, not unlike the beginning the album – a bit dark. Alongside Daniel and Eno, former Get Up Kids bassist Rob Pope and keyboardist/guitarist Eric Harvey round out the band. The brooding bass line and catchy lyrics of “Mystery Zone” kicked things off.
By the second song, Spoon traveled back two albums to Gimme Fiction’s “The Beast And Dragon, Adored.” This is classic Spoon and a fan favorite. The evening was an even mix of old and new. Nine of the eleven tracks from Transference were performed, all to positive feedback from the audience. All totaled, 24 songs were performed with two encores.
Highlights included the emotional rescue of “I Turn My Camera On,” “I Summon You,” “Don’t You Evah,” “Trouble Comes Running,” the terrific piano driven jumpiness of “The Way We Get By,” and a full rocking version – drums and all – of “Small Stakes” (“Small time danger in your midsize car / I don’t dig the stripes but I’ll go for Har Mar / The big innovation on the minimum wage / Is lines up your nose but your life on the page / So c’mon…tell me I’m wrong”). Actually, on this evening, every song was a highlight. Some fans go to shows hoping a band does their album justice. Spoon exceed expectations, offering up performances superior to their recorded material. This band just must be experienced live. Daniel is a passionate and fiery performer with exceptional guitar skills. He was in the groove the entire evening and kept the crowd there, as well.
While Spoon has had their ups and downs, it seems as if they’re in for a future of “ups.” On this night, Spoon was the tightest four-piece on the planet. Even with two encores, the band left fans wanting more.
Opening the show were fellow Austin natives Strange Boys. This may be an apt name, as lead singer Ryan Sambol has a “unique” voice. It could almost be compared to a young Bob Dylan, but with better enunciation (with a touch of Julian Casablancas thrown in). While that voice was sometimes hard to get around, the music was very good. There were various ingredients, including twang, country, and plenty of sixties feel (all played in a garage).
Atlanta natives Deerhunter were up next. Bradford Cox leads this indie rock outfit he describes as “ambient punk.” Listeners may hear the band’s influences of Echo and the Bunnymen, David Bowie, and Brian Eno coming through in their live performance. Between songs, Cox made several references to his mother, aunt, and cousins who were in attendance.
Deerhunter’s post-punk feel went over well with the crowd. Excellent musicianship and strong vocals promise to offer a lot of exposure for these guys in the future. An opening slot on the Spoon tour won’t hurt, either.
Set list
Mystery Zone
The Beast and Dragon, Adored
My Mathematical Mind
Someone Something
The Ghost of You Lingers
Is Love Forever
Goodnight Laura
I Turn My Camera On
Written in Reverse
Who Makes Your Money
Don’t Make Me a Target
Out Go the Lights
The Underdog
I Summon You
Got Nuffin’
Don’t You Evah
Trouble Comes Running
Black Like Me
Encore 1
The Way We Get By
Nobody Gets Me But You
Vittorio E.
Encore 2
Rhythm and Soul
Small Stakes
Cherry Bomb
Sunday, March 14, 2010
114. THEY MIGHT BE GIANTS, 3/6/10
They Might Be Giants’ John Flansburgh and John Linnell have tapped into a new niche audience: kids. Since their inception in 1982, they’ve hit the bullseye with quirky melodies and intelligent – sometimes too intelligent – lyrics that continue to thrill fans. In the past few years, however, the Giants have sneakily infused a kid-friendly song into an album here and there. With a successful outcome, they decided to make it official.
2002’s No! was their first fulltime foray down this road less traveled. And it was a huge hit. Followed by Here Come the ABCs, Here Come the 123s, and Here Comes Science, the two Johns have created an alternate career for themselves. With songs that even parents find catchy, this seems to be long from ending.
The venue was the Variety Playhouse for another family show from They Might Be Giants (their tours now consist of one adult show and one family show for most cities). A sold-out crowd of parents and kids sang, clapped, jumped, and laughed throughout the afternoon. The lion’s share of songs were pulled from the latest release, Here Comes Science. Some highlights from this include “Electric Car,” “Meet the Elements,” “I Am A Paleontologist,” and the TMBG oldie “Why Does the Sun Shine?” (“The sun is a mass of incandescent gas, a gigantic nuclear furnace / Where hydrogen is turned into helium at a temperature of millions of degrees”).
These songs are perfect for elementary school teachers. In fact, why every school system in the country has not included this stuff in their curriculum is a mystery.
The term “family friendly” goes beyond the subject matter of the songs, though. Two selections were performed by puppets and the volume was at an acceptable level for little ears. The two Johns also spoke to the kids as if no adults were present. Kids loved this. The kids also loved the half-dozen times that confetti was shot out of a cannon. This completely covered everyone standing in the pit, as well as the first few rows.
Parents got their fair share of TMBG songs, as well. From the Flood album – their major label debut in 1991 – came the crowd favorites “Particle Man” and “Istanbul (Not Constantinople).” This brought down the house. Also dragged from the vaults was “Older,” and “Dr. Worm” (“They call me Dr. Worm / Good morning how are you, I’m Dr. Worm / I’m interested in things / I’m not a real doctor but I am a real worm / I am an actual worm…”).
Be sure to catch a TMBG show near you – kids or not. You can find their tour dates are other quirky things at www.tmbg.com.
2002’s No! was their first fulltime foray down this road less traveled. And it was a huge hit. Followed by Here Come the ABCs, Here Come the 123s, and Here Comes Science, the two Johns have created an alternate career for themselves. With songs that even parents find catchy, this seems to be long from ending.
The venue was the Variety Playhouse for another family show from They Might Be Giants (their tours now consist of one adult show and one family show for most cities). A sold-out crowd of parents and kids sang, clapped, jumped, and laughed throughout the afternoon. The lion’s share of songs were pulled from the latest release, Here Comes Science. Some highlights from this include “Electric Car,” “Meet the Elements,” “I Am A Paleontologist,” and the TMBG oldie “Why Does the Sun Shine?” (“The sun is a mass of incandescent gas, a gigantic nuclear furnace / Where hydrogen is turned into helium at a temperature of millions of degrees”).
These songs are perfect for elementary school teachers. In fact, why every school system in the country has not included this stuff in their curriculum is a mystery.
The term “family friendly” goes beyond the subject matter of the songs, though. Two selections were performed by puppets and the volume was at an acceptable level for little ears. The two Johns also spoke to the kids as if no adults were present. Kids loved this. The kids also loved the half-dozen times that confetti was shot out of a cannon. This completely covered everyone standing in the pit, as well as the first few rows.
Parents got their fair share of TMBG songs, as well. From the Flood album – their major label debut in 1991 – came the crowd favorites “Particle Man” and “Istanbul (Not Constantinople).” This brought down the house. Also dragged from the vaults was “Older,” and “Dr. Worm” (“They call me Dr. Worm / Good morning how are you, I’m Dr. Worm / I’m interested in things / I’m not a real doctor but I am a real worm / I am an actual worm…”).
Be sure to catch a TMBG show near you – kids or not. You can find their tour dates are other quirky things at www.tmbg.com.
Sunday, February 14, 2010
Vampire Weekend evolve with 'Contra'
This New York foursome came out of the gates in 2008 – guns-a-blazing – with their self-titled debut Vampire Weekend. It was rife with worldbeat beauties about being rich and prominent. Many critics eluded that these youngsters were posing and had stolen their fresh new sound from a variety of genres. The fact that the band's name itself evoked images of crazed teenage girls didn’t help attract serious music listeners either.
But as their tunes slowly dripped through speakers, more and more people reluctantly entered their lair. With the release of Contra (XL Recordings), expectations were high that this would be a carbon copy of the debut, which would have sufficed for their legions of supporters. But to the surprise of critics, lead singer Ezra Koenig and keyboardist Rostam Batmanglij had other plans. Batmanglij is the musical genius to Koenig’s lyrical genius in Vampire Weekend. He produced as well as provided much of the worldbeat feel to the new album.
On Contra, Vampire Weekend have evolved beyond even their own expectations. They have given their fans (and everyone else) a tighter, more mature, and downright better collection of songs. Arguably every single track on Contra has redeeming value.
This time though, Koenig has upped the ante on the lyrics, which are sometimes deep, frequently strange, and always intriguing. On the bouncy ska perfection of “Holiday,” Koenig sings, “Holiday, oh a holiday! / And the best one of the year / Dozing off underneath my sheets / While I cover both my ears / But if I wait for a holiday could it ever stop my fear? / To go away on a summer’s day seemed so clear.”
“Cousins,” the first single off Contra, is a high-octane, thousand-mile-per-hour punk/pop prize. The song showcases everything that is great about Vampire Weekend. Along with Koenig and Batmanglij, speed drummer Chris Tomson and bassist Chris Baio bring home solid musicianship (the four met and formed the band as students at Columbia University in 2006). The video is a direct hit as well.
On the eighties feel of “Giving Up The Gun,” the group drives a pop song through the roof with a solid and stomping rhythm section and smooth synths. A song like this could be a hit by itself on someone else’s album. On Contra, there are really no standout tracks. They’re all excellent.
As the songs flow, one may be reminded of Paul Simon. Maybe a little Graceland filters through. This was true on their first release, but becomes very noticeable on Contra with its depth, breadth, and synthesis of genres. A prime example is “Diplomat’s Son,” which kicks off with M.I.A. samples and an infectious vibe that ends way too soon. Simon’s influence is especially obvious in the opener, “Horchata,” which includes a soaring chorus of singers and tribal-ish drums. In this joyous selection, Koenig sings, “In December drinking horchata / I'd look psychotic in a balaclava / Winter's cold is too much to handle / Pincher crabs that pinch at your sandals.”
The closing track “I Think Ur A Contra,” is a beautiful creation combining piano, a string section (or the synth version of that), Koenig’s lilting voice, and a plea to possibly his own youth (“You wanted good schools / And friends with pools / You're not a Contra / You wanted Rock' n' Roll / Complete control / Well, I don't know”).
Contra proves that Vampire Weekend weren’t a fluke the first time around. If the rich kid mentality is too much for you, get over it. This album should end up on several top ten lists at year's end. Buy it now.
But as their tunes slowly dripped through speakers, more and more people reluctantly entered their lair. With the release of Contra (XL Recordings), expectations were high that this would be a carbon copy of the debut, which would have sufficed for their legions of supporters. But to the surprise of critics, lead singer Ezra Koenig and keyboardist Rostam Batmanglij had other plans. Batmanglij is the musical genius to Koenig’s lyrical genius in Vampire Weekend. He produced as well as provided much of the worldbeat feel to the new album.
On Contra, Vampire Weekend have evolved beyond even their own expectations. They have given their fans (and everyone else) a tighter, more mature, and downright better collection of songs. Arguably every single track on Contra has redeeming value.
This time though, Koenig has upped the ante on the lyrics, which are sometimes deep, frequently strange, and always intriguing. On the bouncy ska perfection of “Holiday,” Koenig sings, “Holiday, oh a holiday! / And the best one of the year / Dozing off underneath my sheets / While I cover both my ears / But if I wait for a holiday could it ever stop my fear? / To go away on a summer’s day seemed so clear.”
“Cousins,” the first single off Contra, is a high-octane, thousand-mile-per-hour punk/pop prize. The song showcases everything that is great about Vampire Weekend. Along with Koenig and Batmanglij, speed drummer Chris Tomson and bassist Chris Baio bring home solid musicianship (the four met and formed the band as students at Columbia University in 2006). The video is a direct hit as well.
On the eighties feel of “Giving Up The Gun,” the group drives a pop song through the roof with a solid and stomping rhythm section and smooth synths. A song like this could be a hit by itself on someone else’s album. On Contra, there are really no standout tracks. They’re all excellent.
As the songs flow, one may be reminded of Paul Simon. Maybe a little Graceland filters through. This was true on their first release, but becomes very noticeable on Contra with its depth, breadth, and synthesis of genres. A prime example is “Diplomat’s Son,” which kicks off with M.I.A. samples and an infectious vibe that ends way too soon. Simon’s influence is especially obvious in the opener, “Horchata,” which includes a soaring chorus of singers and tribal-ish drums. In this joyous selection, Koenig sings, “In December drinking horchata / I'd look psychotic in a balaclava / Winter's cold is too much to handle / Pincher crabs that pinch at your sandals.”
The closing track “I Think Ur A Contra,” is a beautiful creation combining piano, a string section (or the synth version of that), Koenig’s lilting voice, and a plea to possibly his own youth (“You wanted good schools / And friends with pools / You're not a Contra / You wanted Rock' n' Roll / Complete control / Well, I don't know”).
Contra proves that Vampire Weekend weren’t a fluke the first time around. If the rich kid mentality is too much for you, get over it. This album should end up on several top ten lists at year's end. Buy it now.
Friday, February 12, 2010
Spoon exceed expectations with 'Transference'
For listeners who feel that Austin’s Spoon achieved overnight success with 2007’s triumphant Ga Ga Ga Ga Ga, they couldn’t be more wrong. These guys have been hard at it since 1993, when Britt Daniel (vocals, guitar) and drummer Jim Eno formed the band. Various and sundry musicians have come and gone, as have labels (Merge has been Spoon’s mainstay since 2000’s Love Ways EP). Rob Pope (bass) and Eric Harvey (keyboard, guitar, percussion, backing vocals) round out the foursome. Spoon are notorious for getting record deals, then losing record deals. Despite this, and due in part to Daniels' demanding perfectionism, Spoon have discovered well-deserved success.
The band’s name is derived from the avant-garde German band Can, who recorded the hit song “Spoon” in the early seventies. Daniel and Eno were fans. As Spoon evolved throughout the mid- to late-nineties, their sound developed a cult following among alternative music fans looking for something else.
Ga Ga Ga Ga Ga featured hook-heavy, instant hits, such as “You Got Yr. Cherry Bomb,” “The Underdog,” and “Don’t You Evah.” The group’s seventh full-length release Transference takes a little longer to ease into. In the lead-off track, “Before Destruction,” Daniel sounds as if he’s in a large, cold room, singing things like “Before destruction a man’s heart is haughty / Everyone loves you for your black eye.” It’s a sparse, raw sound that was not present on their previous release. But Spoon want you to understand that they’re not in it for the hits. They’re in it to prove their excellent musicianship, the sometimes off-kilter singing, and the sharp lyrics.
This mood quickly shifts gears with the jumpy “Is Love Forever?” Daniel does the voice-echo thing, which has almost become a trademark, at least for some songs. The next several songs range up and down, emotionally, always with something to grab onto. “Who Makes Your Money” slides in with a synth and easy drum beat, with Daniel deftly doing the asking.
The first single, “Written In Reverse,” gets back to the raw sound with a stop-start jam and banging piano sounding like it was done in one take, and that’s meant as a (“I’m writing this to you in reverse / Someone better call a hearse / I can see it all from here from just a few glimpses”).
“Trouble Comes Running” is the all-out hooky rocker that does not disappoint. Daniel emotes, “I was in a functional way / I had my Brown Sound jacket / Queen of call collect on my arm / She was my calmer down / She was my good luck charm / Here it come running / Trouble come running again.” With a catchy guitar riff, killer drums, and some sweet harmonies, this one could be the show starter.
“Goodnight Laura” and “Out Go The Lights” are unexpected near-ballads showing a kinder, gentler Spoon. Throughout the album, the evolved and mature sound shows a band comfortable and confident. Then there’s “Got Nuffin,” a return to vintage Spoon with the quivering guitar and solid, driving rhythm section. Daniel seems to be coming out of the clouds of self-doubt with this one (“And I got nothing to lose but darkness and shadows / Got nothing to lose but bitterness and patterns”).
The remainder of tracks form together to design a terrific outing from indie music’s new kings. Transference debuted at number four on the Billboard charts, a spot none of their previous albums reached. Spoon pride themselves in showing all the blemishes and imperfections. Daniel likes leaving those little miscues and flawed takes on the albums. It becomes more of a real production…more genuine and believable. And so it goes that the quartet from Austin keeps aiming for perfection.
The band’s name is derived from the avant-garde German band Can, who recorded the hit song “Spoon” in the early seventies. Daniel and Eno were fans. As Spoon evolved throughout the mid- to late-nineties, their sound developed a cult following among alternative music fans looking for something else.
Ga Ga Ga Ga Ga featured hook-heavy, instant hits, such as “You Got Yr. Cherry Bomb,” “The Underdog,” and “Don’t You Evah.” The group’s seventh full-length release Transference takes a little longer to ease into. In the lead-off track, “Before Destruction,” Daniel sounds as if he’s in a large, cold room, singing things like “Before destruction a man’s heart is haughty / Everyone loves you for your black eye.” It’s a sparse, raw sound that was not present on their previous release. But Spoon want you to understand that they’re not in it for the hits. They’re in it to prove their excellent musicianship, the sometimes off-kilter singing, and the sharp lyrics.
This mood quickly shifts gears with the jumpy “Is Love Forever?” Daniel does the voice-echo thing, which has almost become a trademark, at least for some songs. The next several songs range up and down, emotionally, always with something to grab onto. “Who Makes Your Money” slides in with a synth and easy drum beat, with Daniel deftly doing the asking.
The first single, “Written In Reverse,” gets back to the raw sound with a stop-start jam and banging piano sounding like it was done in one take, and that’s meant as a (“I’m writing this to you in reverse / Someone better call a hearse / I can see it all from here from just a few glimpses”).
“Trouble Comes Running” is the all-out hooky rocker that does not disappoint. Daniel emotes, “I was in a functional way / I had my Brown Sound jacket / Queen of call collect on my arm / She was my calmer down / She was my good luck charm / Here it come running / Trouble come running again.” With a catchy guitar riff, killer drums, and some sweet harmonies, this one could be the show starter.
“Goodnight Laura” and “Out Go The Lights” are unexpected near-ballads showing a kinder, gentler Spoon. Throughout the album, the evolved and mature sound shows a band comfortable and confident. Then there’s “Got Nuffin,” a return to vintage Spoon with the quivering guitar and solid, driving rhythm section. Daniel seems to be coming out of the clouds of self-doubt with this one (“And I got nothing to lose but darkness and shadows / Got nothing to lose but bitterness and patterns”).
The remainder of tracks form together to design a terrific outing from indie music’s new kings. Transference debuted at number four on the Billboard charts, a spot none of their previous albums reached. Spoon pride themselves in showing all the blemishes and imperfections. Daniel likes leaving those little miscues and flawed takes on the albums. It becomes more of a real production…more genuine and believable. And so it goes that the quartet from Austin keeps aiming for perfection.
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