Wayne Coyne sends out a little X-Mas/Hanukkah cheer…from Mars. His home movie titled Christmas on Mars has finally been released. This is excellent holiday news because the film was made over the course of 8 years. Was it worth the wait? We’ll just have to see. Coyne plays in Oklahoma City for New Year’s with his nephew’s killer psychedelic band Stardeath and White Dwarfs. You’ll remember these wide eyed and wondrous pyrotechnics from 2007′s CMJ Music Marathon.
Pela
Apollo Sunshine
Liam Finn
The Music Hall of Williamsburg
February 27th 2008
Liam Finn, son of Crowded House front man Neil Finn, took the stage to a slightly sparse crowd in Williamsburg. I hate to start off a review by identifying Mr. Finn with his father, but I think it is kind of important. You won’t find me calling this kid an independent wunderkind. He toured with Crowded House at age 14. He began his own band Betchadupa in his mid-teens and toured with Pearl Jam and Cold Play. He was born with a signed record contract.
That having been said, he and his nameless stage mate made some good music last night. His voice was really the center piece of the act. Armed with an autoharp and a percussion stand, a young lady with a sizzling hot unbuttoned dress sang exquisite harmonies. No matter what music writers say, he was no one-man-band. Mr. Finn made a damn fine ruckus on the guitar after which he craftily looped a base line and vocals. At the height of the song, he would sit and bang the drums like a Muppet named Animal. Let’s be honest though, the loop thing is beginning to be a little boring and necessarily formulaic.
Nevertheless, I am definitely going to give Finn’s latest record I’ll Be Lightning a listen. The song Second Chance is brilliant. This New Zealander seems to be genuinely interested in making honest music. He is set to tour a bit more with Pela through March and then with Eddie Vedder as he embarks on his solo tour in April. He might want to give a little credit to his busty sidekick though. I mean really…
Next a spectral druid came on stage to tune his bass guitar. I was frightened of the skeletal frame that seemed to hover. Apollo Sunshine it turns out is fronted by a bearded ghost named Jesse Gallagher. Their music sounded like good old Midwest rock and roll played in an obscure, apocryphal style, as if they were locked in a video game console. They are definitely technically skilled. Everyone I know from Berklee College of Music has talent. Sam Cohen’s guitar makes animal sounds like Hendrix and the band can move to the groove while keeping time and tone. They would make a great double feature with Stardeath and White Dwarfs. I really must say that Mr. Gallagher looked like a strung out caveman from a Gieco commercial.
When Pela finally arrived I shifted a bit closer to the stage. I caught their last show in New York at the Bowery Ballroom during the CMJ Music Marathon. It was their last show of the year before recording their upcoming record in California and it was very excellent. This show was certain to include more tracks from their new LP. The crowd grew to what I later learned was sold out status, and they seemed to be happy to be back in New York. Billy McCarthy shouted out greetings to Brooklyn, smiling as always. His positivity is pretty outstanding. One thing about a Pela show, you do not leave without feeling loved. They are perhaps the most crowd thanking band I have ever seen.
As for their performance, Pela played standards like Waiting on the Stairs and Tenement Teeth to a fawning and vocal audience. Their new songs were well received and kept in style with their work off Anytown Graffiti. This certainly could have been a byproduct of the limitations of a live show, but I wouldn’t expect their new record to sound drastically different than their last. It was really enjoyable to see them again. I felt a little distracted by their constant flirtation with the crowd. Not to bitch that a band is too friendly, but at one point I thought to myself, “I get it already!” In retrospect, it was not such a bad thing. After all, Pela played very well and we didn’t have to wait through two entirely shitty bands to hear them. Gravy!
6/9
http://www.myspace.com/pela
http://www.myspace.com/apollosunshine
http://www.myspace.com/theliamfinn
I have recently returned from the Midwest, where I spent Christmas with my family and my wife. It was great to see old friends and how my home town has changed in the years that I have been away. My favorite bar has been by some accounts blacklisted by those who disapprove of new ownership, the intrusion of a malformed elevator shaft into the stage space, and a shift in demographics. Hip kids perceive the fraternity types to be taking over and thus have moved elsewhere. This xenophobia has been transliterated onto the music scene itself. I visited a new venue in Nebraska called Box Awesome. Immediately upon entering, I knew that this joint had collected the cool juice that had spilled over from downtown’s once great music venues. Everything from the art on the wall to the position and quality of the stage and the people circulating the room left the impression that Box Awesome was attached to a scene. It was a happening place that I could easily imagine running into on the Lower East Side or in Williamsburg.
To some the energy that is derived from such a venue is coveted. The covetous nature of what I saw that night is a microcosm of what seems to be happening in independent music. When I entered Box Awesome a band called UUVVWWZ was slated to play. I had recognized Jim, the main guitar player and writer from Mr. 1986, and was expecting a great show. As the band completed their sound check, the lead singer Teal began to hum and moan into the mic. What ensued captivated the audience and had the house moving. The music was nicely awkward with solid riffs punctuated by the jammy interplay between the bass and guitar. But I could not help but scoff at the shrieks of Teal Gardner. UUVVWWZ sounded as if Veruca Salt bitched and screamed until her father bought her a band. They incorporated some of the more vocal forward elements of Sleater Kinney and the more mundane aspects of Deer Hoof. She mostly failed to utilized her words or proffer her utterances as anything other than the whiny shenanigans of a preschooler. When Ms. Gardner sang with a more tender tone it was evident that the band had promise. Even when she screamed there was a raw vociferousness that was pleasurable. But the fact remains that most of the time, she just sounded like a girl whose shtick was to sing by singing badly. UUVVWWZ then came off as noise. This describes a major trend in independent music that has culminated in 2007.
The quest to become the oddest of the odd is not one taken by fools alone. There have been many great and glorious records to come out of such attempts. Others however fail with attention too often placed on what is possible, or what can be done, rather than any consideration of what effect or aesthetic the music might have when it is listened to. Importantly, a premium has been placed on what is disconnected. Caché is derived from the anti-structured expletives that valiantly discourage mainstream attention. The Fiery Furnaces had their try and stumble with Widow City in 2007, while Battles succeeded with Mirrored to produce interesting rhythmic weirdness. Perhaps Battles did well because of the lack of worded vocals. Either way, the critics of 2007 loved any attempt to reformulate the way we listen to music, giving praise to records that if critiqued at another time would be recognized as trite and be doomed to be forgotten. Noise can only be new a few times.
Animal Collective rose to the occasion and released a record with intense creativity when times were fertile for their brand of music. They were not lazy just because it would have been easy to crank out a crap record and still have gotten recognition because of their “pioneer” status. They took it upon themselves to step it up when more people would be looking, although Animal Collective member Panda Bear released what some have erroneously called the best record of 2007. This record was possibly the least important release of the year, but alas, he cloned The Beach Boys in a way that Band of Horses did not. Kudos for that, but I’ll probably never intentionally listen to Panda Bear’s Person Pinch again. This year has been a year in which the discombobulated has thrived and the straightforward has succumbed to the rise of distracted glitchy antitheses.
In 2007 Wilco played us simple songs uncovered and bare of what otherwise might have been expected from a band that pushes their songs to the textural limit of pop. Bright Eyes recorded Cassadaga, leaving Lincoln Nebraska’s former recording landmark Presto Studios for the wider scope of pan-America. Similarly Bright Eyes’ music ranged from intimate to epic, teeming with themes of isolation, alienation, and the large scope of the American experience. Beirut has given 2007 an expanded and improved collection of tracks that out perform much of their previous catalog, proving to us that Zach Condon will be around for a very long time.
This year has acquainted me with bands such as Pela who have written and recorded one of the most undervalued American rock albums of this decade. Other bands like The National and The Twilight Sad have altered indie rock’s accumulated stigma as poorly recorded cock rock. Groups molded into the archetypal formulas of Jet and The Strokes are getting less and less attention. On the unsigned front, Yes, I Attempt (now named Boys Dance, Girls Die) from Montréal have recorded a few tracks that should be getting noticed any time now. Once they book shows, I know it will only be a matter of time. Immovable Objects and The Depreciation Guild have put together two very beautiful and encouraging records. They are delicate, tender, and dense. I am very curious to read what other critics make of these acts as they achieve greater prominence.
This year I have sat in disbelief at critical reactions to many albums. I have a place reserved in my heart for Rilo Kiley, but another release like Under the Blacklight will most certainly jeopardize the charge of my opinion. I almost mistook Spoon’s Ga Ga Ga Ga Ga for an Oasis record…and that is a bad thing. Stars have been noted for their retro nuanced pop, but they come off sounding like pretentious hacks, who are too self infatuated that they have over looked the fact that they are perhapes the most derivitive band I have heard in a while (Sorry Amy Millan, I’ll always love you). Another much loved artist to make new songs from dated styles is Jens Lekman, who is touted as the ultra euro-romantic. While he is by no means awful, Lekman’s mannerisms never quite have the pop appeal of Belle and Sebastian or the sassy nature of Morrissey, yet he tries to fuse the two into a seamless product. When I listen to him, I am reminded of what he is not, rather than what he has to offer. I know…too bad for me.
The internet has seen a few antics this year. The identity of The Tuss has fueled more controversy with people who usually wouldn’t care. Radiohead released an amazing record and distributed it themselves via the internet for a price to be named by the buyer. They caused a false scandal when it was discovered that In Rainbows would be initially downloadable at only160kbs. Idiots finally found Radiohead’s flaw… they are money grubbing leaches… hmmm. Au Revoir Simone has risen from a relatively little known band to an internet sensation. Based on the amount of internet buzz I expect these ladies to do well in the coming year. While I did not give them the most stellar review, after listening to Under the Blacklight, I am convinced that The Bird of Music has done more musically in 2007 than Rilo Kiley ever dreamed of or cared to try. In fact Rilo Kiley loaned everything cool about themselves to the Brooklyn trio.
After much consideration I have decided to include a Frederick Foxtrott Top 10. It is flawed and conflicted but it covers a good portion of what 2007 had to offer.
Top 10 of 2007
1 Iron & Wine- The Shepherd’s Dog
2 Radiohead- In Rainbows
3 Múm- Go Go Spread the Poison Ivy
4 Pela- Anytown Graffiti
5 Bright Eyes- Cassadaga
6 The National- Boxer
7 Band of Horses- Cease to Begin
8 Wilco- Sky, Blue Sky
9 Modest Mouse- We Were Dead Before the Ship Even Sank
10 The Tuss- Rushup Edge
*Elliot Smith’s New Moon and Sigur Rós’s Hvarf/Heim are respectfully excluded from consideration.
I am looking forward to 2008. It will be the year that Eagle Seagull tours across the nation with their new record, finding their name on many a critic’s top 10 list. Head of Femur will take this year to watch their hard work pay off with their new release Great Plains. Born Ruffians and Stardeath and White Dwarfs will release their debut LPs to audiences eagerly awaiting full lengths. Born Ruffians will be one of the best bands to hit the shelves in 2008 and if Stardeath’s shows are any indication of their abilities in the studio then I am afraid to hear how good they’ll sound next year. As Paper Garden increases its roster of notable artists, both past and present, they continue to impress me with their sensibilities and nose for great music. Peasant will no doubt have huge success in the coming year. Thanks for reading Frederick Foxtrott and we hope to make next year’s reviews more abundant and informative. While from my perspective 2007 was not a great year for independent music, I predict that 2008 will be an exceptional year, serving to define a most crucial time for the independent industry.
Bands Mentioned
Click to access more information
Animal Collective
Au Revoir Simone
Band of Horses
Battles
Beirut
Born Ruffians
Bright Eyes
The Depreciation Guild
Eagle Seagull
Elliot Smith
The Fiery Furnaces
Head of Femur
Immovable Objects
Jens Lekman
Modest Mouse
Múm
The National
Panda Bear
Peasant
Pela
Radiohead
Rilo Kiley
Sigur Rós
Spoon
Stardeath and White Dwarfs
Stars
The Tuss
The Twilight Sad
UUVVWWZ
Wilco
Boys Dance, Girls Die (Formerly Yes, I Attempt) Read the rest of this entry ?
Frederick Foxtrott’s CMJ Music Marathon Review
This year I had three days in my schedule to attend College Music Journal’s annual marathon of music that takes place all across New York City. Over a thousand bands played over 200 venues over the past week. This does not even count the hundreds of unofficial CMJ events featuring a myriad of other shows. As a former server in New York’s late night Meatpacking District, I have come to value my nights and weekends. Now that I have a right and proper day job, I could see three nights of shows in a row. This is unheard of people.
It would have been great to have had the CMJ pass so that I could wander from venue to venue seeing only the bands I personally chose. However, I did not and was left to spectacles that only chance would provide. Sometimes, when I go to shows, I catch the rare opening act that blows my mind, or at least provokes me to think about buying their next EP. Other times I shake my head and wonder what possessed me to show up early yet again. This year at CMJ there was plenty of both scenarios. Over-all it was a great experience. I not only saw some of my favorite bands, but I also got the opportunity to introduce them to others as well. I wasn’t the least bit afraid that I had over hyped them, and they did not disappoint. The following reviews are from my notes, diligently taken over three nights and over many, many beers.
Thursday October 18th 2007
The Bowery Ballroom
The Grey Race
The Grey Race is a Travis-esque Brit rock band that would fit right at home on America’s lucrative adult contemporary radio stations. They were so unabrasive to the point of being silly. After immediately judging their sound, I leaned in a little closer to make out what they were saying. This is what I encountered: “Surrender me to the sky…your soul will rise… high…from here…” Not the most inspirational lyrics- but perfect for adult contemporary radio. Too bad The Grey Race missed the post-”grunge” commoditization of early-nineties rock and roll. They would have made a killing with the likes of Tonic, Semisonic, and Better Than Ezra. While indie music might have a reputation for failing to be marketable and radio-friendly, The Grey Race seems determined to change such stereotypes.
4/9
Stardeath and White Dwarfs
Wow! Okay, I know most bands with substandard talent and dull artistic skills often throw crazy colored track lights and bright white retina incinerators on stage in hopes that the blinding antics will somehow mask their egregious lack of anything interesting. But what happens when this same visual carnage is accompanied by radical lead-heavy metal riffs reminiscent of Black Sabbath circa 1970? With the faint scent of War Pigs lingering in the air, this Oklahoma City quartet impresses not only with an awesome light set-up, but also with their incredible sound.
Stardeath and White Dwarfs‘ lead singer Dennis Coyne, clad in a shamrock-green jumpsuit complete with rainbow colored leg stripes, thickened his vocals with cavernous reverb, while a droney synth-organ opened every pore of every show-goer so they could fully absorb the spectacle before them. Each member of this band worked off a constant beat that culminated in an epic dirge. Watching this show was like watching a live action Rainbow Brite episode while listening to Deep Purple on acid.
Complete with drum solos, this arena rock act transformed the sparsely populated Bowery Ballroom into a coliseum. This rare hybrid of modern experimental art-rock and truly classic heavy-metal can be compared to acts like The Mars Volta, but these upstarts have something truly singular about them. The set was far too short for these heavy handed rockers.
The Stardeath’s weirdness is a bit reminiscent of something that The Flaming Lips would conjure up. Speaking of which, I am not exactly sure what to think about Dennis Coyne’s relationship to Wayne Coyne, lead singer of the Lips. Dennis is Wayne’s little nephew. Thankfully, I wasn’t aware of this relationship before I penned my notes for the band, and I am confident that Stardeath and White Dwarfs have a future of their own, despite whatever may have fueled their initial up-rise.
7/9
Tiny Masters of Today
As brother and sister act Tiny Masters of Today began to set up their equipment (or should I say as Tiny Masters’ road crew set up their equipment), I looked around and thought to myself, “How is this show sold out? The venue is nearly empty” I had heard about this band from various music-zines. They have been praised by many highly influential music aficionados, including my own favorite obsession David Bowie who labeled them “genius”. The band lists other praises on their web site:
“These kids are heroes.”– NME
“…the coolest young band in the world right now.”– Observer Music Monthly
“…remarkable”– Newsweek Magazine
These little guys had plenty of press. My first guess as to why the venue was so empty was that people had forgotten that they had purchased tickets to the show. My later impression was that more astute people had been privy to better information than I had.
The kids came out and put their instruments on. I was afraid they were going to fall over from the weight of the guitars, especially Ada who lugged the bass as her drummer tuned it for her. They looked so nervous, but I had to give them credit. They were on stage at The Bowery Ballroom at ages 11 and 13. Ivan, the waif of a brother, looked so emaciated and malnourished that I am surprised he had the strength to lift his guitar. I would have chalked it up the harsh rock star life style, but I am pretty sure that he isn’t even out of middle school yet.
All sorts of cameras were brought out to videotape this momentous event, including a camera so large that the director who wore it needed a brace. This was obviously a big deal. In the middle of the floor, where the fans congregated, three chicks were getting a lot of attention from the director dressed in linen. They looked like sorority girls out at a club dressed for “indie” night. I also happened to notice that they had microphones and wires going up their shirts. What was this? Was this part of Tiny Masters’ act?
As the kids began their show, a lot of support came from the crowd. After all, they were just kids. The three sorority chicks danced like they were having a good time, while the camera zoomed in on them. Something struck me as odd about this show. It seemed entirely fabricated. The truth is that Tiny Masters of Today weren’t any good. The expression on their faces didn’t project apathy or angst, it was pure fear. The grown-up drummer kept looking for cues. He too looked afraid, like a parent at a recital mouthing the words with their child as they sing their solo. The guitar work was terrible. I began to understand that this in fact wasn’t a band at all. It is a project- a very adult project, exploiting these kids as a marketing tool. Who thought this shit up? I love you more than you will ever know Mr. Bowie, but what the hell were you thinking?
If this was an attempt to prove “indie” music’s mindlessness, then so be it. Every head bobbing audience member who didn’t get a bit creeped out by the whole affair was complicit. I feel kind of sorry for these kids. I hope they at least get a college trust fund out of the deal. This was the ultimate contrivance. I saw a glimmer of goodness, and I saw a sliver of their appeal, but the context in which it was displayed dismantled whatever legitimacy they might have had. Did the band know that the paid actors in the crowd completely detracted from their already suffering show?
Incidentally, on the last song I walked out of the venue to make a call. Standing there outside were the three sorority chicks receiving pointers from the director. After the motivational speech, the girls and the man dressed in linen returned inside and I followed. When I got back to the floor, the crowd had over doubled in size. The cameras were out filming again and the girls were having their good time in a much bigger crowd. I truly hope that they aren’t going to edit in 1990’s crowd to subsidize their own dearth of fans.
Blarg!
2/9
1990’s
As I mentioned above, at the end of Tiny Masters, I counted 70 people including staff. By the beginning of 1990’s that number had over doubled. The crowd was ready for a show, obviously enjoying 1990’s immensely. They were a pretty generic rock band heavily influenced by The Rolling Stones. Before I noticed that a band member sported a lips and tongue logo on his shirt, I remember thinking, “Gosh will The Stones’ far reaching claw of rockdom ever shrivel and die?” They reminded me a bit of Kings of Leon with bell bottoms. The guitar was great. I had good time listening to him whale…I mean really whale. All together their show was about as blasé as this review.
6/9
Bill McCarthy came out and surveyed his instruments, polished the guitars, and folded his sweat rag with almost OCD precision. Rather than have someone else set his gear up, McCarthy had to have control. This can be either a very good or bad characteristic in a musician. Either the songs are performed with such methodical exactitude that it comes off sounding flat and too rehearsed, or it can end up sounding great, having the perfect balance of tight musicianship and passion. Luckily for us at the show, it was the latter. When the rest of the band joined him on stage the crowd applauded with zeal. This was obviously the show people had come to see, and after suffering a couple of very sub-par acts, they were eager to watch a show with talent. Stardeath had been a worthwhile hors d’oeuvre, but now it was past time for the main course.
Pela’s opener, Waiting on the Stairs, was slightly expected and entirely perfect. Although, I kind of wish they would have played it again in the middle and then again at the end. I could hear that song indefinitely. Their live performance bumped the emotive prowess of the songs to yet another staggeringly stupid level. It wasn’t until then that I realized how many times I must have listened to Anytown Graffiti. I knew nearly every word to every song. Other highlights included Cavalry and Song Writes Itself. With these songs, Pela played every note as if they were a singular and meaningful event.
I have always been nervous to see bands that I really love because I am afraid that my expectations will exceed their product. Pela met my expectations and then some. Tomislav Zovich’s drum work was ultra tight and inoffensively crisp. Nate Martinez’s guitar forms somewhat of the backbone of Pela’s sound. It is hard to visualize from listening only to the record but Martinez, who plays his brand of rock and roll with exceptional skill, is as much responsible for Pela’s success as is McCarthy’s lyrics and vocals. It was great to watch how the music was constructed and pieced together.
I was also pleased with Pela’s overall presence. McCarthy’s appreciation for the receptive audience was genuine. Between songs, and wiping the sweat from his brow, he made sure to thank the crowd with incredible enthusiasm. McCarthy constantly smiled and looked as if he was having an amazing time. This may be the most charming thing about Pela. The band looks as if they enjoy what they do together. It was Pela’s last show of the year before they return to a studio in California to record their follow-up to Anytown Graffiti. They played what seemed like a full set and I know the crowd would have preferred that they play two more just like it. Pela must be proud of their work and I wish them the best of luck on their new record.
8/9
I didn’t bother to stay for dessert. Read my review of British Sea Power- Open Season.
Click for Review
Day #1
Day #2
Day #3
CMJ Music Marathon October 16th – 20th 2007
I have chosen these three venues and evenings to check out what CMJ has to offer. I’ll be seeing three of my favorite acts along with many others. Click on dates for reviews of the shows.
Wednesday October 17th 2007
$12.00, 21 and Over
Mercury Lounge NYC
217 E. Houston St, New York, NY
(corner Ave A & Houston)
(212) 260–4700
Rock And Roll 7:00
The Rosewood Thieves 8:00
The Airborne Toxic Event 9:00
Eagle Seagull 10:00
The Little Ones 11:00
Robbers on High Street 12:00
Eskimo Joe 1: 00
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Thursday October 18th 2007
$17.00 Doors Open at 6pm, 18 and Over
The Bowery Ballroom
6 Delancey St, New York, NY
(212) 533-2111
British Sea Power
Pela
1990s
Tiny Masters Of Today
Stardeath and White Dwarfs
The Grey Race
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Friday October 19th 2007
Unknown Price, 21 and Over
Arlene’s Grocery
95 Stanton Street, NYC
212.995.1652
RWIM Chicago Showcase
Tom Schraeder & His Ego 7:30
Unique Chique 8:15
Skybox 9:00
Brighton, MA 09:45
Head Of Femur 10:45
Catfish Haven 11:45
Hollywood Holt 12:45
Come to these shows people…
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