Pharmacy Spirits
Teen Challenge
March 2010
Self-Released.
Pharmacy Spirits – Books
Pharmacy Spirits – Just Like Charles
This spring we received a beautiful gift from Nebraska’s Pharmacy Spirits. Following the path carved by their debut EP Every Song Ended In 1994, Teen Challenge stands on the shoulders of giants, and it stands tall. The record somewhat insinuates a contradiction, sharing the name of an evangelical Christian outreach program created in the 1950’s to heal the country’s youth of their addiction to drugs, alcohol, and sexual perversion. Pharmacy Spirits and Teen Challenge explores the expanse between depraved debauchery and outlandish treatment programs; the anxiety of each extreme is encapsulated by the band’s style. Taking a listen to their earlier EP, one recognizes a celebration of British and American new wave and post-punk engaged in fornication with college radio demigods, producing a dance driving vegrandis opus that is ultimately hip.
The observation that sometime in 1994 the music died sells the narrative that the 80’s was a truly significant decade. The lives of such admired artists as The Glove, The Cure, Joy Division, Bauhaus, The Fall, and later bands like the Pixies and Pavement (Slanted and Enchanted, 1992 and Crooked Rain, Crooked Rain 1994), all flared and faded by the time 1994’s final sun set. Though this would be only one telling of the story, as many would argue that the few bands who still release albums are alive and well, not to mention, the very existence of Pharmacy Spirits’ seemingly inarguable relevance underscores the fact that many of these bands’ early catalog has never been hotter. These artists though have come through the looking glass marred by the now romanticized experiences of sex, drugs, and death. Enter Teen Challenge.
Piecing together and then articulating the ambient qualities of a record is never easy. The critic is forever the douche bag for ever even considering the use of his vocabulary. Teen Challenge though has a warmth and beauty that is so exquisitely wrought with desperation and exhaustive emotion that it would be difficult to talk about it without reading like a canvas description at the MOMA. Teen Challenge has all that the throw-backs of the modern era could ever hope. The best songs make you want to dance, the rest are just as cool, though the contrast between pulsations such as Books or Just Like Charles and the slow downs like Safety Now only serves to elevate the power and energy of the former. Simply put, Teen Challenge is a beautiful gift that has reified all that we ever loved about the decade of decadence, yet at the same time Pharmacy Spirits has the guts and vision to move beyond a bygone time, through the looking glass, to explore what still counts, what is still relevant. By all measures they have succeeded.
Tour
August 28th 7PM Eclipse Records w/ Dragons Power Up! & tba Minneapolis, Minnesota
August 29th 9PM Vaudeville Mews w/ Gabe Cordova & tba Des Moines, Iowa
September 3rd TBA
September 4th TBA
October 1st 9PM The Cave w/ Gospel Gossip! Northfield, Minnesota
October 2nd 9PM 331 Club w/ Gospel Gossip Minneapolis, Minnesota
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
Black Hat Brigade
Fathers EP
May 29th 2009
Unsigned
Black Hat Brigade- Zombie City Shake
Far from the cavernous sprawl expressed by earlier recordings, Black Hat Brigade has recorded an EP that will be described as one of the best releases of 2009. Their Fathers EP kicks so much ass, they aren’t permitted to tour in America for fear that their presence will make the heads of residents in Williamsburg, Greenpoint, and Bushwick explode. This really is a national security thing. It is worth noting that the religious right and Billboard magazine have rigorously lobbied INS to approve visas for the band—clearly an attempt to silence northern Brooklyn’s pesky music scene. You know what I say? Fuck it’s worth it! Get your asses to NYC! Sure Robert Haughey’s vocals might remind some of fellow Canadian Dan Boeckner, but who really gives a damn?
Like the morose joy of Eagle Seagull, Black Hat Brigade’s music is entirely different and in many ways better than Wolf Parade. Fathers is defined by a paradox. Dark lyrics that speak of blood, guts, and zombies are cradles inside of some of the brightest and most expansive dance music written for the small club stage. Or maybe it is just that I can dance to anything, but we all know this to be untrue. While there is not a bad track on the 7 song + 1 reprise EP, there are certainly a few standouts. Zombie City Shake, Castlevania, and Vera are all exceptional. These songs not only have the pop sensibilities that provoke inebriated jigs, but they throw back to the epic layers common on their first EP. Here, the voluminous multifaceted interplay is harnessed to produce ridiculous crescendos, the heights of which truly press the limits of grandeur.
Andrew Bird
Noble Beast
Fat Possum
January 20th 2009
I first saw Andrew Bird perform as I watched back stage at 2005’s inaugural Intonation Festival in Chicago’s Union Park. He performed with a lone drummer and a loop machine, displaying his truly awe-inducing proficiency at layering himself over and over until the fullest, deepest chorus emitted from the stage stacks. It was this first encounter that attached me to his third solo record The Mysterious Production of Eggs. It was a record that defined the summer of 2005 along with the other monster releases of that year. While I cannot say that Noble Beast is a return to his earlier work—he has after all an extraordinarily lengthy and impressive repertoire, the vast majority of which sounds nothing like the music of recent years—it is worth noting that Mr. Bird has walked back a bit the more refined direction he pursued with his fourth solo release Armchair Apocrypha, returning instead to slightly more grainy rhythmic loops and eloquently worded lyrics.
The new terrain Andrew Bird chooses to explore with Noble Beast is something of a somber excursion narrated by songs written with epic cadences and animistic themes. The two most rewarding deviances from his prior works are Not a Robot, But a Ghost and Anonanimal, the later of which contains Bird’s finest song writing. Some might accuse him of dipping his toes into full fledged post-rock mockery, Tortoise meets Explosion in the Sky, but the sheer quality of the track quickly wins over and grumblings. Andrew Bird still has his obsessions with medical terminology and molecular compounds, with calcium revisiting his lyric book yet again. This record is punctuated with quaint interludes belying his fascinations with Irish folk and bluegrass. In fact the personal sentiment drawn from Nobel Beast is a result of looking back at the foundational elements of individual style, of looking inward and returning to a sense of self; while at the same time launching forward again, looking at new prospects and new tones of expression without releasing that which make him so great. Nobel Beast is simply said his best record yet.
As Bowl of Fire
Thrills (1998)
Oh! The Grandeur (1999)
The Swimming Hour (2001)
As Andrew Bird
Music of Hair (1996)
The Ballad of the Red Shoes EP (2002)
Fingerlings (2002)
Weather Systems (2003)
Fingerlings 2 (2004)
The Mysterious Production of Eggs (2005)
Fingerlings 3 (2006)
Armchair Apocrypha (2007)
Live In Montreal (2008)
Fitz and the Dizzy Spells EP (2009)
Noble Beast (2009)
Tour
Jun-8 Merriweather Post Pavilion Columbia , MD
Jun-14 Bonnaroo Manchester, TN
Jun-15 Cobb Energy PAC Atlanta, GA
Jun-18 Radio City Music Hall New York, NY
Jun-19 Bank of America Pavilion Boston, MA
Jul-10 Greek Theatre Los Angeles, CA
Jul-11 Greek Theatre Berkeley, CA
Jul-13 Red Butte Garden Salt Lake City, UT
Jul-14 Red Rocks Amphitheatre Morrison, CO
Jul-16 Britt Pavilion Jacksonville, OR
Jul-17 Marymoor Amphitheatre Redmond, WA
Jul-18 McMenamins Edgefield Amphitheater Troutdale, OR
Jul-19 McMenamins Edgefield Amphitheater Troutdale, OR
Jul-26 Squaw Velley Ski Resort Olympic Valley, CA
Aug-06 Eastnor Castle Ledbury, UK
Aug-07 Lollapalooza – Grant Park Chicago, IL
Aug-07 Eastnor Castle Ledbury, UK
Aug-08 Eastnor Castle Ledbury, UK
Aug-08 Lollapalooza – Grant Park Chicago, IL
Aug-09 Eastnor Castle Ledbury, UK
Aug-14 Haldern Pop Festival Haldern, DE
Aug-15 Haldern Pop Festival Haldern, DE
Aug-21 Glanusk Park Powys, UK
Aug-22 Glanusk Park Powys, UK
Aug-23 Glanusk Park Powys, UK
Oct-02 Austin City Limits Festival Austin, TX
In recent memory there has not been a band that has so succinctly captured the deep meaning and purpose of voyaging toward something unknown as the Whiskey Go Go’s. This is not only represented in their music, but also in their recent movement through New York City and LA. As the industrial malaise suffocates the broad sea of creativity and talent, some have made it their mission to ensure that their extraordinary presence in independent music is still felt. Vocalist/guitarist Matt Hutchinson and drummer Michael Noonan have exhibited their affinity for Brooklyn, playing multiple venues over the past two months. After their stints at The Trash Bar, the Whiskey Go Go’s played a set at Union Pool withParlor Grand whose MySpace quote says it all, “There are some Indians, There are some Whites.” Parlor Grand had a Crazy Horse aesthetic and a joy for performance that made their set entirely worth showing up for. Of course Union Pool’s delicious outdoor Taquito stand and wood burning fire pit didn’t hurt.
The audience at Union Pool was markedly different from that of The Trash Bar. I am not sure if this resulted from the particular type of punter each venue attracts, or from the high volume of random sophisticates and eager girls that decided to attend Union Pool that night. In any case, Union Pool’s show was somewhat more subdued. This is not to say the show as any less impressive; Hutchinson still had that same dramatic intensity. His eyes began tightly shut and his hands spoke with subtle movements. As the show continued he became ravenously wide-eyed and his hands seemed to reach out and extend past the crowd. He abused the whammy bar and scrapped the strings of his guitar along everything he could find, from the microphone mesh to the cymbal’s edge.
Mr. Noonan also played exquisitely. He is a disciplined drummer with excellent chops, which is important being that there are limited permanent members touring the U.S. There would be no room on this tour for an impressive front stage presence hampered by the dulling baggage of mediocrity. It was a privilege to get to see a second showcase of their new project Whiskey Rain, which is the title of their yet-to-be-released record. While unmastered, I have had the opportunity to listen to the new record. Though the record is largely influenced by various strains of Americana, it contains an authentic voice of its own. That voice contemplates love, loss, and ways to pacify the clutter of an unkempt mind…namely drinking…a lot.
The record is assembled with precision. The opening track, titled Whiskey Rain, is a collage of barely comprehendible exhortations, a wish list of affection set over amazing pop guitar. It is easily one of the most well written songs released this year. The following track, Wooden Hearts, is a bass driven, distorted soliloquy, narrating events with descriptions of natural elements and of violence, erupting into the refrain:
“You are the lady that I love…You are women that I adore”
This marks a defining feature of the Whiskey Go Go’s work. Hutchinson has written phrases that when heard are nearly impossible to suppress from being repeated over and over again in your head. Bang Shot is another incredibly well written track that begins with a simple and soft guitar melody joined by a perfect hum from the band. The song builds as Noonan’s snare pop makes the song onomatopoeic. The crescendo has all instruments at fever pitch as Hutchinson croons a new take on the old adage that it takes two…
“I held the gun, but she pulled the trigger.”
As a whole, the record succeeds almost immaculately, with only a few subjective missteps occurring. Every track is creative—undeniably a product of a band that benefits from the momentum of charisma and determination. Songs like Devil’s Banquet and Love Song round out the record, ensuring that it has balance and weight. Even White Angel and Yours Sincerely, the record’s most problematic tracks, have moments of stunning beauty and imperfect charm. The Whiskey Go Go’s have made a nice addendum to 2007’s Proud Tale to Them of Us, which itself boasted plenty of great songs like Rodeo and True Love. Hutchinson’s hollering madness and rustic sophistication is impressive. It is only a matter of time before they receive wider recognition. We are glad to have seen them when we did.
Death or Glory Presents(ed): Semi Precious Weapons
The Bowery Electric
February 19th 2009
“I can’t pay my rent but I’m fucking gorgeous”
While this proclamation has echoed through nearly every article of old and new media that discuss Semi Precious Weapons, we can’t help but use it to lead this review. First things first…the venue was…well the venue should have been called The Frosty Nostril. The number of suited Christian Bale American psychos walking into the bathroom in twos and threes was astounding—bordering humorous. At 10PM the venue instituted its delightful hour long open bar, serving any and all vodka drinks for free. The bar tenders weren’t stingy; in fact they were very cooperative to those perched at the bar. Being perched at the bar ourselves, we only too gladly accepted their assistance. Among the highly fashionable nightlife lovers, hovering over vodka sodas and cran, I felt my own morose and indignant attitude toward Manhattan recede. By the time Semi Precious Weapons took the stage to utter the mantra above, the entire audience was primed for the impending onslaught. This band exploits the trends and eccentricities of what at first seems to be a caricature of early to mid 70’s proto-punk pop-glamour, but as vocalist Justin Tranter stepped onto stage with his “quick poncho” and mile-high stilettos, the scent of authentic sexed hedonism permeated the dark dank underground room.
Semi Precious Weapons’ debut full-length We Love You was executive produced by Tony Visconti, known for his long time production relationship with David Bowie. This telling accreditation hints at the substance that the band peddles. Although their set at The Bowery Electric was truncated to around 30 minutes, it injected a dose of vociferous stimulation that, with us at least, has to this moment not quite subsided. After the first few minutes it was clear that the band, particularly guitarist Stevy Pyne, were fucking incredible performers. We were expecting to some degree the debaucherously refined energy Semi Precious Weapons were known to exert. We were not however expecting Mr. Pyne. I had to pay special attention to his face melting licks to be sure that there was not a prerecorded music track making up for the loss of control sure to occur when a set is played with such complete abandon. Even when he walked into the ravenous crowd his execution was perfect. As Tranter climbed over amplifiers and through the ceiling light fixtures, the crowd observed a love for performance and entertainment so rarely offered on the modern stage. While everything about the band exuded fashion and image, Semi Precious Weapons are not prefabricated dogs in show. They are their own masters of ceremony—demanding our attention with the full expectation of obedience. Semi Precious Weapons are slutty enough, aggressive enough, and talented enough to expect what they demand.
February 25th- Santos Party House New York, New York
March 7th- Plush Tucson, Arizona
March 9th-HELL on HEELS @ Beauty Bar Las Vegas, Nevada
March 10th- HELL on HEELS @ Bar Pink San Diego, California
March 11th- HELL on HEELS @ The Knitting Factory Los Angeles, CA
March 12th- HELL on HEELS @ Red Devil Lounge San Fransico, CA
March 13th- HELL on HEELS @ Voodoo Lounge San Jose, California
March 14th- In Store Performance @ Apple Store San Fran!
March 14th- HELL on HEELS @ Fire Escape Bar Citrus Heights, CA
March 15th- HELL on HEELS @ Doug Fir Lounge Portland, Oregon
March 16th- HELL on HEELS @ El Corazon Seattle, Washington
Shugo Tokumaru
Exit
September 2, 2008
P-Vine Records/Almost Gold
The stuttered waltz and whimsy that is evoked by Shugo Tokumaru’s latest sonic fable Exit infuses Japanese flourishes with Lennonesque imagination. The record captures the color of a fairy tale and the levity of short bedtime story. He never requires much of the listener other than an appreciation for the occasional appearance of odd instruments and an appetite for extraordinary music. The record never seems to overreach with its Eastern idioms and playful melodies. That Exit is sung in Japanese (I think) adds a level of open-ended intangibility; meaning always remains peripheral to the feel.
Live, Shugo’s plays the guitar as if it were his Siamese twin. His instrument at times seems as big as the man himself. There is an unmistakable element of bluegrass that flavors his live performance. Much of the other nuance present on the record becomes lost in the open space of the venue leaving the defined plucks and strums to fend for themselves. Perhaps this is because his music is so dense that the guitar becomes consumed by the disjointed tinkering bells and ethereal polyrhythm. During his 2008 CMJ appearance at the Bowery Ballroom, as understated as his presence was, he exceeded every other act that night with sheer creativity. As always, the Bowery’s CMJ show was over priced and underperformed; Shugo would have been served by a more intimate venue and a less preoccupied audience.
I am quite sick of the tendency for any musician who employs a whistle in their song structure to be labeled the next “Insert Nationality” Sufjan Stevens. Shugo seems to get shellacked with this honor quite often. His instrumentality relies on a menagerie of distinct sounds that have the sole intent of forming an effervescent ambience. I don’t imagine such a project can be said to be unique to Mr. Stevens. Indeed, Shugo Tokumaru’s Exit is one of the most original records released this year, and it is certain to endear many who listen. If you get the chance to see this guy upon his North American return, be sure to catch him at an appropriate venue, so that all the glorious array of whips and bobs don’t just float away.
Our friends from Head of FemurMatt Focht and Eathan Janney are on the road this month with Connor Oberst. I suppose this means their stint together in Nebraska yielded good chemistry. Focht and Janney will be traveling with a few new folks under the moniker The Matt Focht Band. Unfortunately they seem only to be touring Minnesota, Wisconsin, Michigan and of course Illinois. What I wouldn’t give to see this lineup at the Vic Theater. Lucky bastards. If there is a chance they might continue together eastward, I’ll get the word out. Can’t we get Focht to Terminal 5 in November?
The Matt Focht Band and Conor Oberst Tour Together October 29th 2008 8pm @ FIRST AVE. Minneapolis, Minnesota October 30th 2008 8pm @ TURNER HALL Milwaukee, Wisconsin October 31st 2008 7pm @ VIC THEATRE Chicago, Illinois November 1st 2008 7pm @ VIC THEATRE Chicago, Illinois November 2nd 2008 8pm @ ROYAL OAK MUSIC THEATRE Royal Oak, Michigan
My Bloody Valentine
September 23rd 2008
Roseland Ballroom
There is a reason why people listen to My Bloody Valentine religiously, and we all heard it yesterday. Last night’s show was the last of their reunion trilogy in New York, which in their grander USA tour continues westward to end in Los Angeles on October 2nd. No one thought these shows would ever happen again since the band’s break up in 1991, which makes yesterday’s experience (and future shows) all the more surreal. Phenomenal would be an understatement to describe last night, though I don’t know if one word could describe what I felt as I watched in awe. It was a show that tested the human body and mind in the face of life-altering decibel levels. Boxes of earplugs were scattered around the venue as if one pair alone would not suffice. Some brave souls tempted to endure the show without these little saviors. Wikipedia’s entry for the band picks up on this observation of the sound magnitude of MBV’s past reunion shows in the UK:
“One visitor comments he saw a 130 dB volume on the mixing desk, another visitor comments he saw 132 dB at one moment, both louder than the Loudest Band in the World record before the Guinness Book of World Records discontinued the category.”
That makes me feel awesome.
The music was truly hypnotizing (I saw so many faces of honest devotion with eyes shut) and possessed the audience into some involuntary bodily movements that were aesthetically fascinating. But the hypnotic quality shouldn’t be a surprise to anyone who listens to MBV. Neither should the fact that it was nearly impossible to discern any of the vocals. What impressed me the most was the sheer power from the drummer and bassist. The sound they produced together was the backbone of last night’s beastly performance. They even had a mirror installed next to the drum set for easy communication. All in all, I was more than satisfied with the show. I nearly cried when they played Cigarette In Your Bed.
Though there was also an opening band called The Lily’s, they were just that—a band you mention before you forget.
Some people brought up that the nostalgia effect as a factor that made this show more amazing than it really was. But for the younger generation like me, last night was not nostalgia, it was now. And hands down, it was my best show yet.
Tour
Sep 25 2008 Kool Haus, Toronto Ontario
Sep 27 2008 Aragon Ballroom, Chicago Illinois
Sep 30 2008 The Concourse Exhibition Center, San Francisco California
Oct 1 2008 Santa Monica Civic, Santa Monica California
Oct 2 2008 Santa Monica Civic, Santa Monica California
