Mostly Other People Do the Killing
Woos & Woes
our mountain
Zebulon
January 8th 2010
So I’ll keep this one short. It is long over due, and I wasn’t going write anything, but I figure why not take an opportunity to call it like it was. The title of this piece should be “Woos & Woes and our mountain Got Fucked by Mostly Other People Do the Killing,” which I’ll now refer to as “that jazz band” because I don’t have the patience to write their damn name. For those who don’t know—and who doesn’t—an opening slot for a 3 band gig is 45 minutes with 15 minutes for the break down. So let’s start there. That jazz band played for over an hour and a half and took their sweet time breaking down. To quote one exceptional jazz player, “If you can’t convince the crowd you’re good in seven songs, you won’t be able to do it in 14.” This is advice that jazz band needed to fucking take. The music was a flutter of circus acrobatics meshed with a rhythmic train wreck…and some how I think he might like such a description. At one point, during the syncopated scaled masturbation, the drummer sundered his kit and howled in the kick’s microphone, orgasming like basset hound. The band was confused…they thought we enjoyed their cheap pornography. I can’t tell you how many people looked at one another in absolute disbelief. What commitment…what style! I suppose they were releasing their new album that night.
Woos & Woes, whose recorded music by the way is pretty damn good, had a dreadful amount of mic issues. It clearly put them on edge. In fact if that is the description I’d give the night, on edge. They mostly performed well but the venue and mic set up was not suited for their delicate ambience, or their cavernous washed out vocals. Woos & Woes are an LA band that I imagine could have been, and should have been an excellent preface to the final show of the evening, our mountain. Woos & Woes played as a guy gal duo trading off instruments and vocal leads. Both members seemed stifled by the venue’s seeming lack of care for their performance.
Our mountain finally made it to the stage at 12:30, an hour and a half later than their scheduled slot. Those who stayed had likely by then spent all their money on booze and hardly had much to tip…yes a bucket was passed around. Our mountain played their usual energetic and explosive show. They debuted some new tunes, all of which were cradled comfortably within their brilliant repertoire compiled over years of refining their sound. I cannot say enough for this band, especially because they stuck to their gritty guns and gave a great performance, despite the fact that the venue hadn’t the slightest care. I can imagine there was a strong enough impulse to “say sorry guys,” to those who remained, and get the fuck out of dodge, but they didn’t. They played and played well. The venue, Zebulon, looks great, it has a Parisian feel with tons of wood and nameless beer taps. But they accidentally poured a beer down the shirt of a girl sitting at the bar and made a passive apology, failing even to play nice and offer a drink on the house. More importantly they lost control of their stage, letting a bunch of self indulgent jazz hacks suck out the oxygen from what could have been an amazing night.
Color Radio
Be Safe, Be Aware
September 2nd 2009
Unsigned
Not to contradict the legions of intelligent and insightful music critics who have commented on the worth and wonder of Color Radio’s newest EP Be Safe, Be Aware, but the best you can do is compare these kids to Coldplay, Arctic Monkeys, Doves, Travis, and Radiohead?! Let me set the record straight, if they must be compared to something or someone, let’s talk about Matt Johnson, Morrissey, and Tim Kasher smoking reefer in an alternate universe where 1984 and 2009 collapse into an eternal nightclub in Manchester. In this sense I can see why some might compare them to Doves, but not necessarily because they sound alike, but because Doves actually used to hang out at The Haçienda in Manchester in 1984. Some may say Tim Kasher, really? And I say yes, he is there, at least for a moment or two. But that would only be if I wanted to compare them to anyone at all.
Color Radio’s music is modern-it is heart felt-it is a topographic tour of dreamscape melody. Jonathan Ifergan and Tohm Ifergan, are an excellent guitar drum duo charmed by the familial fact that they are indeed brothers. The two are only increased in beauty by Matthew Thomas and Joel Chasco who in infuse the intense ambiance with their respective contributions of keys and bass. I would be excited to have this group meet and pair up for a couple of nights in New York City with another great Midwestern band Eagle Seagull. Color Radio are what their band name says they are. They pulse with color, attitude, and passion. Better yet, they are having a three date stint next week in New York, so December calls people, let’s go…
Other Music
Newest News- 2009
Feeling Like You Used To EP- 2008
Tour
December 11th 9PM Skully’s w/ Loyal Divide Columbus, Ohio
December 12th 8PM TBA Pittsburgh, Pennsylvania
December 14th 8PM Arlene’s Grocery New York, New York
December 15th 8PM Midway Cafe Boston, Massachusetts
December 16th 8PM Glasslands Gallery Brooklyn, New York
December 17th 9PM Lulu’s Village Pub Port Jefferson, New York
December 18th 9PM Cranky’s Manatee Pub Cleveland, Ohio
December 19th 8PM TBA Fort Wayne, Indiana
9:00 Beep Beep
10:00 UUVVWWZ
11:00 Old Canes
12:00 Orenda Fink
1:00 Miles Benjamin Anthony Robinson
This Thursday, October 22nd, Beep Beepkicks off Saddle Creek’s showcase in the appropriately placed Knitting Factory; appropriate, because it is in Williamsburg, Brooklyn and a hop, skip, and a jump from my front fucking door! Beep Beep is an eclectic 5 piece with band members ranging from Darren Keen, one man beat dropper of The Show Is the Rainbow, to Ian Francis, lacerating drummer from The Machete Archive, a progressive postrock bud of a band making noise in Nebraska (check out Keen’s newest release Wet Fist, definitely worth a listen, and The Machete Archive’s debut Tempus Omnia Vorat).
Beep Beep is textured with threads of comfortable androgyny. Their music is a soft velveteen seduction, punctuated by the jarring insertion of an almost violent outburst of guitar and drums. Come prepared to swallow the groove, to ogle the hot one in the crowd, to watch Beep Beep set the cool and smooth in motion only to knock each other off center, exposing the slightest tension in an otherwise graceful fusion of romance and erotic emanations. It is like listening to Sade, Morrissey, and the Rapture at the same time. YUM!
Other bands gracing the stage are UUVVWWZ, a band that has come a long way from their humble beginnings. This band personified all that was musically confected in 2007; I knew it was only a matter time before someone caught on. Jim Schroder still plays his masterful guitar. These guys are quite the fucking experiment so it should be interesting to some and lost to others.
Old Canes, fronted by Chris Crisci of The Apple Seed Cast, is an amazing acoustic oriented Americana act that keeps its home in Lawrence, Kansas. This will be an great addition to the lineup. I know that Mr. Crisci and I share a love for Sunny Day Real Estate.
Next is Orenda Fink, wife of Todd Fink of The Faint, is an excellent folk singer armed with an arsenal of talent. Her bucolic lyrics and melodies are simply gorgeous. She could have been the Muse that possessed 27 year old James Agee to write Let Us Now Praise Famous Men.
The night ends withMiles Benjamin Anthony Robinson, a surprisingly young dude with a very strong voice and a unique approach to making pop music, which seems to be his forte. This man’s emotions may get the better of him, but as he explodes on stage, it will be a powerful unraveling.
Here we have a great recording of a show that took place back in March. I was fortunate enough to get to see Cursive on their spring tour and it was beyond expectation. These guys have only gotten better with age. Mama, I’m Swollen is a masterpiece. Check out my show review Tim and Damien are a Spectrum.
The arts pace known as Secret Project Robot, by the water off Metropolitan in Williamsburg, welcomed their guests with a baby pool full of taurine laced energy drinks. While this was on its face a seemingly dubious display of corporate sponsorship, their presence was entirely appropriate. Energy was requisite. The music space exuded a “do it yourself” aesthetic in everything from the door-lady drawing hearts on the hands of patron who shelled out the $8, to the cheap vodka and whiskey or the large bucket of iced two liter mixers behind a small slab of a bar manned by a particularly festive cross-dresser and another barkeep, who I am sure would have been worth describing had his look not been so overshadowed by the slutty red lipstick and stuffed brazier. So too it went with the bands who performed; all had promise, all had songs worth listening to, all were experimental and dynamic, but all were outshone by the final clamorous fashion of These Are Powers.
In yet another sticky scenario, Secret Project Robot’s stagnant heat was oppressive, but they had sprinklers spouting off in plastic tubs so at least we knew they were thinking about us. Bill Salas stood behind his drum kit with a console of electronic rhythm pads, infusing the natural resonance of an open snare with manufactured blips and bops. Pat Noecker, ex-bassist for The Liars, wielded his instrument with genius pomp. His bass had been modified to produce an array of shrieks and moans; his contribution at times imitated the demolition of a 40 story building, other times it shot through the room like an auditory emanation of a laser cannon. And then there was Anna Barie. Part bean-shìdh, part international world-music pop star, Anna chanted smooth and cool, bobbling a rhythmic voice through wicker work of the drums and bass. She would volley steamy sighs down on an already moist mass of dancing limbs and then pull back with a low pitched croon.
The energy of These Are Powers is simply incredible. They have released a couple of records; their latest All Aboard Future, was released on Dead Oceans in February of 2008. The alchemy of these three musicians produces a refined and potent power from seemingly disconnected parts. As a group, These Are Powers function together with a rare sense of theater, fashion, and ragged opulence. For any avid show-seeker, These Are Powers are a must. Apparently the Chinese love them too…
Music
Terrific Seasons- 2007
Taro Tarot- 2008
Cockles (Split) with The Creeping Nobodies-2008
All Aboard Future- 2008
Tour
August 22nd 8PM Littlefield NYC Brooklyn, New York
August 27th 6PM Brooklyn Bowl Brooklyn, New York#
October 17th 8PM The Independent San Francisco, CA*
October 18th 8PM Doug Fir Lounge Portland, Oregon*
October 19th 8PM Crocodile Cafe Seattle, Washington*
October 20th 8PM Biltmore Cabaret Vancouver, BC*
# with Cymbals Eat Guitars
*with A Place to Bury Strangers
Black Hat Brigade, a band long championed by Frederick Foxtrott, has just released a live session with AUX TV in part with Audio Recording Academy of Toronto (TARA). It offers a little more of an intimate look at who they are and where they’ll be going.
Wilco
Wilco (The Album)
June 30th 2009
Nonesuch Records
The danger of writing an unabashedly and deliberate self-referential album is immense. It is often the kind of indulgence that eternally condemns and confines many records of its kind to Best Buy bargain bins. Of course there are the great cannon makers who will always be remembered for their eponymous contributions, Led ZeppelinI,II, III, & IV; The Who Sell Out; The Beatles (commonly referred to as The White Album); etc. Wilco goes beyond imprinting their name on a record or a song (in this case both). Blaring their self awareness, they have titled their newest record Wilco (the Album), and the first song on the release Wilco (The Song). But with all this narcissism, the album’s contents are not Xeroxed copies and remakes. The songs are fresh.
The band has moved effortlessly from their post Uncle Tupelo reformations, A.M and Being There, through the nascence of Summerteeth to their seminal Nonesuch release Yankee Hotel Foxtrot and then on to the whammy crazed, Nels Cline addledA Ghost is Born, which won a basket full of awards—partly based on merit and partly based on the cachet accumulated by the release of I Am Trying to Break Your Heart: A Film About Wilco—arguably the greatest music DVD ever released. The film documents the production of Yankee Hotel Foxtrot, cementing their status as industry underdog, giving even more attention to their follow up. From there they released a live CD documenting their 2005 show at The Vic in Chicago and later in 2007, Sky Blue Sky—a masterful retreat into neighborhood nostalgia and hometown reflection. With such a varied spectrum of song typology, where was Wilco to go? Their answer was a satirical celebration of themselves. The answer was Wilco (The Album).
Unquestionably the most polished and produced record of Wilco’s catalogue, this newest venture sees the band marinade amongst themselves. They are like an old married couple, the husband and wife begin to look alike. Cline and Tweedy alternate and converge through scales of distortion and wild free form feedback. Pat Sansone plays it straight with his standard roots rock licks that occasionally serve to anchor an otherwise frenetic guitar section. The album is eclectic in itself at times characterized by experimental loops and other times by subdued pop melodies. Leslie Feist duets with Tweedy on the song You and I. The song is soft and easy. It is a perfect midpoint between the pop orchestration the erupts in the beginning, Wilco (The Song), and the record’s conclusion, Everlasting, a song with subtle experimentation and a beautiful outro of wisping loops of Wilco’s signature guitar medley of Tweedy and Cline.
Wilco’s performance at Keyspan Park in Coney Island was worth the $55. I broke my own ethics in buying the tickets. No show should cost this much. When bands price themselves that high, it is a “fuck you” heard loud and clear. But I bought the tickets anyway and solemnly swallowed my convictions knowing that I’d get to see Yo La Tengo open. The predication of Ira Kaplan’s distorted wall of noise to the Tweedy/Cline symposium was phenomenal. It was like seeing my two favorite two cousins. The show lasted three sets. This confused me because I was pretty sure Tweedy was a little put off by the audience. It was tough to tell whether he was mocking the thousands of fans, many of whom were middle aged khaki wearing stiffs with pink ball caps or fraternity brothers sucking down fifths of Southern Comfort and screaming “wooo hooo” like Homer Simpson. At one point he stood in disbelief, shoulders ashrug when the crowd continued to sing Take Me Out to the Ball Game when he jokingly suggested it was his next tune. This underscores Tweedy’s dickishness but it doesn’t explain why he gave us everything that night. No matter the reason, it was a brilliant and a great show. Wilco is/are absolutely classic in every sense.
UPDATE: A reader points out that Nels Cline did not in fact play on A Ghost is Born. This is a misperception on my part stemming from the fact that I saw the group tour for A Ghost is Born and Nels was aboard. Thank you very much John-Paul for the correction. Somehow it is indeed more satisfying that Tweedy plays those solos himself. Though Nels is incredible.
Other Records
A.M.-1995
Being There-1996
Summerteeth-1999
Yankee Hotel Foxtrot-2002
A Ghost Is Born-2004
Kicking Television: Live in Chicago-2005
Sky Blue Sky-2007
01 “Wilco (The Song)”
02 “I Am Trying to Break Your Heart”
03 “Shot in the Arm”
04 “At Least That’s What You Said”
05 “Bull Black Nova”
06 “You Are My Face”
07 “One Wing”
08 “Handshake Drugs”
09 “Deeper Down”
10 “Impossible Germany”
11 “Jesus Etc.”
12 “Sonny Feeling”
13 “I’m Always in Love”
14 “Can’t Stand It”
15 “Hate it Here”
16 “Walken”
17 “I’m the Man Who Loves You”
18 “Hummingbird”
Set 2
19 “Heavy Metal Drummer”
20 “You And I”@
21 “California Stars”*
22 “You Never Know”*
23 “Misunderstood”
24 “Spiders (Kidsmoke)”#
Set 3
25 “The Late Greats”
26 “Hoodoo Voodoo”*
@ w/ Feist on vocals
* w/ Feist and Ed Droste of Grizzly Bear on backup vocals and percussion
# w/ Yo La Tengo
Animal Collective
Merriweather Post Pavilion
January 20th 2009
Domino
Two of my favorite things come from Baltimore, Maryland, the setting for The Wire and Animal Collective. Now living in New York City, Avey Tare (David Portner), Panda Bear (Noah Lennox), Deakin (Josh Dibb), and Geologist (Brian Weitz) make up what is easily one of the most dynamic bands celebrated by popular music’s enlightened underclass. To be sure, 2007’s Strawberry Jam was not perfect, but it was an infectious collection that had everyone’s ears aflutter. Animal Collective’s follow up, Merriweather Post Pavilion has only improved on the band’s innate sense of melody, creativity, and freakishly impressive composition.
With Panda Bear’s solo, Person Pitch, upstaging critically Strawberry Jam, it is no surprise that Merriweather Post Pavilion is a softer, more relaxed, and sober album. Person Pitch, winning a shack full of accolades, is a hyper ethereal and subdued record that never approaches the measured schizophrenia exhibited on Strawberry Jam. Merriweather Post Pavilion draws at least part of its genealogy from this release. The guttural rantings of Peacebone and For Reverend Green are tucked away deferring to harmonious vocal polyrhythms. There is an air Paul Simon’s usage of South African melodies and music that recalls Graceland in the most flattering way possible.
Merriweather Post Pavilion is Animal Collective’s most vocally accessible record. While its sedated character makes for easy listening and demonstrated maturity, the band has reserved their most vibrant songwriting for another day. Every flaw bitched about off of Strawberry Jam was attended to and corrected. But the heart and soul of the two records are far from one another. An apologist would argue that this obviously stems from the fact the they are indeed two different records, but even they would deep down inside feel the cold void caused by the absence of Animal Collective’s most delicious attribute—madness.
Other Music
Spirit They’re Gone, Spirit They’ve Vanished- 2000
Danse Manatee- July 2001
Campfire Songs- 2003
Here Comes the Indian-2003
Sung Tongs- 2004
Feels- 2005 Strawberry Jam- 2007
Tour
Jul 16 2009 8:00P Cigale, Paris
Jul 17 2009 8:00P Dour Festival, Dour
Jul 18 2009 8:00P Melt Festival, Grafenhainichen
Jul 19 2009 8:00P Jarocin Festival, Jarocin
Jul 20 2009 8:00P Postgarage Graz
Jul 21 2009 8:00P Bands Apart Festival @ Piazza Castello, Ferrara
Jul 22 2009 8:00P Rock in Roma @ Ippodromo, Le Capanelle Rome
Jul 23 2009 8:00P Jazzaldia at Kursaal San Sebastian
Jul 26 2009 8:00P Fuji Rock Festival, Nigata
Aug 8 2009 8:00P Lollapalooza, Chicago, Illinois
Aug 8 2009 8:00P Lollapalooza DJ Set, Chicago, Illinois
Aug 14 2009 8:00P Prospect Park Bandshell, Brooklyn, New York
Aug 15 2009 8:00P Prospect Park Bandshell, Brooklyn, New York
Aug 20 2009 8:00P Brixton Academy w/ Gang Gang Dance, London
Aug 21 2009 8:00P Green Man Festival, Crickhowell
Sep 12 2009 8:00P All Tomorrow’s Parties, Monticello, New York
