There are albums that you enjoy, listen to occasionally, and introduce to others casually. All is well with them. But then there are albums that become cornerstones of your life. With songs that bring back instance vivid memories of times gone by. These albums are secrets that you only share with a select few until the time is right.
Jimmy Eat World's Clarity is one of those latter albums for me. Saturated by the angry testosterone of Korn, Limp Bizkit, Kid Rock, etc. I was introduced to Clarity in the summer of '99. Walking into the Zia Record Exchange in Tempe while working a summer job in Phoenix, I was drawn to that record for the main reason most guys are drawn to stuff, because of a girl.
Listening to this record day in and day out, memorizing each lyric, chord, and beat, it was the record that apparently made me a romantic. She and I bonded over this record for the next two years deeply, quoting lyrics, humming the chorus in each other's presence, singing along loudly while driving in the deserts of Arizona basking in its clear night sky. This record and I have an intense relationship that sadly last longer than the one with the girl, but that's another story for me to tell when I am the right amount of buzz with the appropriate company.
So standing in the crowd at the 9:30 waiting patiently for Jimmy Eat World (JEW) to come onstage to play Clarity in its entirety for its 10th anniversary was a tense period. What will I remember, what will I forget, what the heck was I doing here attempting to relive the past in my feeble head. I was ready to leave. But when the house lights went down, I looked towards the stage, at the minimalist backdrop of black and white glowing in the deep blue light, JEW walking onstage and I stayed. With little wait, JEW jumped right into the slight hum of "Table for Glasses," followed by the drums and them all singing in unison..."It happen too fast, to make sense of it, make it last..." Truer words have never been spoken so clearly, the night was a rush.
So many things were different from the recording, the bass was louder and more intimate, the guitars were looser and reverbed a bit more, the cymbals crashed a bit longer, and Jim and Tom's voices warbled and vibrated more so. Directly going into "Lucky Denver Mint," the rhythm guitar chords were more pronounced and I could feel every string vibrate. The drums were steady, but warm, as was the bass. "Your New Aesthetic" was rife with angst and energy not present on the record. It had more life here, and a bigger following. "A Sunday," with its child-like intro, was like a warm, comforting hug that engulfed the crowd. And the crowd knew to sing loudly from the start of "Just Watch the Fireworks" just like she used to, myself included. And the riffage of "Clarity" was a whole 'nother beast, with their backs bent, sweat dripping from their brow, arms pumping into the guitars. And the crowd shaking in their stance, just waiting for that chorus to release "I don't know, but I know I want out!"
This all led up to the most intimate moment of this year for me, experiencing "Goodbye Sky Harbor" live. What can I say, the lyrics, the acoustic guitars, the drums, the fragility and yearn in Jim's voice as he sings "you are smaller, getting smaller, but I still seeeeee yooooouu." It was like having a long, intimate dinner with someone you thought was the one and you're getting reacquainted after a long period apart; with the background music sponsored by the lingering instrumental ending of "Harbor." And then it was over.
Thankfully, JEW came back after playing Clarity, playing "Work" and "Pain" fluidly from Futures, as well as "The Middle" and "Sweetness" from Bleed American, which garnered the loudest singalong from the venue. And like a message from above, "No Sensitivity" was on the set list and I sang with my entire body, eternally grateful to JEW for playing the song that helped me get over that girl.
In the end, it was organic, spacious, exhilarated all the senses, and made me close my eyes, breathe deeply, and take one giant leap forward, towards closure. Yeah, I'm melodramatic, I know.
Showing posts with label Live music. Show all posts
Showing posts with label Live music. Show all posts
Wednesday, February 25, 2009
Saturday, February 21, 2009
Elegance in simplicity
With the stage awashed in hues of purple, red, blue and green, Chan Marshall, aka Cat Power, seductively mesmerized the crowd with not only her beauty, but with her awe inspiring voice as well.
Backed by the Memphis Rhythm Band, Cat Power swayed across the stage, back and forth with no sense of urgency. Playfully coy with the crowd and well at ease, she crooned the night away to her latest covers record, Jukebox. No longer the so-called "unpolished" live act who had no rhyme or reason to her performance, Cat Power was subtle, brilliant, and appreciative.
Saying very little throughout the set, the show was focused on the music. And with the soul and heart that Cat Power emotes, in addition to the proficiency and adaptive nature of the Memphis Rhythm Band, no other thing was needed. With a chilling rendition of "Metal Heart," I was whisked away from the confines of the 9:30, only experiencing contentment that I have not felt in a while. And the buildup of "Lord, Help the Poor and Needy," slowly evoking memories of riding with my mother as she would listen to her gospel tapes from the car stereo, rising up to the potency of many of the "punk" bands I listen to, I was floored at where she started, and where the song took her.
On and on this went throughout the night until it could go on no more. Cat Power simply sang one great song, passed a bouquet of flowers to the front of the audience, was gracious in voice and smile, and walked off the stage seemingly happy. I left the venue, retrospective, glad, and forever in debt to Cat Power and what she gave me that night...simply a wonderful evening of heart, soul, grace, and beauty.
Backed by the Memphis Rhythm Band, Cat Power swayed across the stage, back and forth with no sense of urgency. Playfully coy with the crowd and well at ease, she crooned the night away to her latest covers record, Jukebox. No longer the so-called "unpolished" live act who had no rhyme or reason to her performance, Cat Power was subtle, brilliant, and appreciative.
Saying very little throughout the set, the show was focused on the music. And with the soul and heart that Cat Power emotes, in addition to the proficiency and adaptive nature of the Memphis Rhythm Band, no other thing was needed. With a chilling rendition of "Metal Heart," I was whisked away from the confines of the 9:30, only experiencing contentment that I have not felt in a while. And the buildup of "Lord, Help the Poor and Needy," slowly evoking memories of riding with my mother as she would listen to her gospel tapes from the car stereo, rising up to the potency of many of the "punk" bands I listen to, I was floored at where she started, and where the song took her.
On and on this went throughout the night until it could go on no more. Cat Power simply sang one great song, passed a bouquet of flowers to the front of the audience, was gracious in voice and smile, and walked off the stage seemingly happy. I left the venue, retrospective, glad, and forever in debt to Cat Power and what she gave me that night...simply a wonderful evening of heart, soul, grace, and beauty.
Tuesday, February 10, 2009
don't you let me go, let me go tonight
Interestingly enough, I followed up the Fucked Up concert with Lykke Li, a swedish, indie pop singer. Not necessarily a dichotomy in theory, but it was still a huge frakking difference.
Trekking out to the Sixth and I Synagogue, I was lost for about 5 minutes in finding the venue, and hence missed the openers. But once I arrived, I was pleasantly surprised by the atmosphere of the place. Old creaky wooden stairs that felt like they were going to snap like twigs under me, that historical near-pungent odor that was tolerable, the view of church pews and a room that just opened up above. Not since DAR Constitution Hall have I been enamored with a building.
Choosing a back pew to take residence, I looked around and could see dozens of faces staring back at me, this place was that intimate. Waiting for about ten minutes, slowly becoming adjusted with the crowd being right there, the lights finally dimmed and the ethereal beginning of "Melodies & Desires" began to flood the place, generating an aura of serenity. Li Lykke then entered onto the stage and stood in front of the mic and began whispering "follow these instructions, do as I do."
And the crowd basically did that and more the entire night. It is becoming commonplace and refreshing to see the audience become actively involved at these shows. With little room to spare, the crowd was able to start a dance party right up next to the stage, and Li was impressively happy with the results. Singing, dancing, banging a cymbal with a drumstick, Li was ecstatic. The crowd really responded to "Dance, Dance, Dance," "I'm Good, I'm Gone," and Li's voice was simply gorgeous on "My Love." With its lush instrumentation just as rich as it is on the album, the song was a true gem. And the crowd really contributed to "Little Bit," practically finishing the last minute of the song as Li was having some technical difficulties. Although she did provide some vocal criticism saying they mixed the chorus line with another song, I was still impressed with the passion of this crowd.
This passion was returned with a stirring rendition of "Tonight." With its soundscape of piano, drums, cymbals and her voice, it was amazing. After that song, I had to walk out because it just felt like the right time to leave. I could not think of a better way to welcome the month of February.
Trekking out to the Sixth and I Synagogue, I was lost for about 5 minutes in finding the venue, and hence missed the openers. But once I arrived, I was pleasantly surprised by the atmosphere of the place. Old creaky wooden stairs that felt like they were going to snap like twigs under me, that historical near-pungent odor that was tolerable, the view of church pews and a room that just opened up above. Not since DAR Constitution Hall have I been enamored with a building.
Choosing a back pew to take residence, I looked around and could see dozens of faces staring back at me, this place was that intimate. Waiting for about ten minutes, slowly becoming adjusted with the crowd being right there, the lights finally dimmed and the ethereal beginning of "Melodies & Desires" began to flood the place, generating an aura of serenity. Li Lykke then entered onto the stage and stood in front of the mic and began whispering "follow these instructions, do as I do."
And the crowd basically did that and more the entire night. It is becoming commonplace and refreshing to see the audience become actively involved at these shows. With little room to spare, the crowd was able to start a dance party right up next to the stage, and Li was impressively happy with the results. Singing, dancing, banging a cymbal with a drumstick, Li was ecstatic. The crowd really responded to "Dance, Dance, Dance," "I'm Good, I'm Gone," and Li's voice was simply gorgeous on "My Love." With its lush instrumentation just as rich as it is on the album, the song was a true gem. And the crowd really contributed to "Little Bit," practically finishing the last minute of the song as Li was having some technical difficulties. Although she did provide some vocal criticism saying they mixed the chorus line with another song, I was still impressed with the passion of this crowd.
This passion was returned with a stirring rendition of "Tonight." With its soundscape of piano, drums, cymbals and her voice, it was amazing. After that song, I had to walk out because it just felt like the right time to leave. I could not think of a better way to welcome the month of February.
Sunday, February 8, 2009
The night that made me feel young
I'm going to be honest, I couldn't tell you what songs were sung, what chords were played, what time sig the drummer was going to. But I can say that I felt young again for a brief moment. And it brought a smile to my face.
Standing at the bar in the back of the small Talking Head Club, I waited through 3 alright openers. Some were catchy, some were noisy, some I just didn't get them, but at 11:00 pm, they finally walked on-stage.
Ladies and gentleman, here was Fucked Up in flesh and blood. Looking surprisingly young, I didn't know what to expect; youthful energy and chaos, elder statesmanship of playing punk rock, or something else. Listening to their records and singles for the past year, I was expecting something that would at the very least, be epic.
And that is exactly what I got. Playing back and forth to the crowd, giving as much as they were taking, I stood in amazement at this six piece coalition. Rummaging through a multitude of songs, some I can remember hearing through the fuzz on my headphones, I could do nothing but begin to the nod to the beat, stare the band in the face, and take a step forward and join the bedlam of the pit right in front of them. Swaying through the mess, knocking people over, picking people up, I can say that was the most comfortable I have felt in a long time. Packed in with a group of strangers, not knowing one person to the next, I let go. Following the singer parade through the crowd, stand on top of the bar, swing aimlessly in the crowd, give random kids piggyback rides to and fro, I was young again. The stamina was there, the muscle were not sore, the sweat and blood did not bother me, I was young.
That is what I remember about Fucked Up, they made me feel young again. No band has done that for at least two years. And it happened for the first time on the East coast. For me, Fucked Up were transcendent. I will see them again, I will listen to them more closely, and I will be more prepared.
Standing at the bar in the back of the small Talking Head Club, I waited through 3 alright openers. Some were catchy, some were noisy, some I just didn't get them, but at 11:00 pm, they finally walked on-stage.
Ladies and gentleman, here was Fucked Up in flesh and blood. Looking surprisingly young, I didn't know what to expect; youthful energy and chaos, elder statesmanship of playing punk rock, or something else. Listening to their records and singles for the past year, I was expecting something that would at the very least, be epic.
And that is exactly what I got. Playing back and forth to the crowd, giving as much as they were taking, I stood in amazement at this six piece coalition. Rummaging through a multitude of songs, some I can remember hearing through the fuzz on my headphones, I could do nothing but begin to the nod to the beat, stare the band in the face, and take a step forward and join the bedlam of the pit right in front of them. Swaying through the mess, knocking people over, picking people up, I can say that was the most comfortable I have felt in a long time. Packed in with a group of strangers, not knowing one person to the next, I let go. Following the singer parade through the crowd, stand on top of the bar, swing aimlessly in the crowd, give random kids piggyback rides to and fro, I was young again. The stamina was there, the muscle were not sore, the sweat and blood did not bother me, I was young.
That is what I remember about Fucked Up, they made me feel young again. No band has done that for at least two years. And it happened for the first time on the East coast. For me, Fucked Up were transcendent. I will see them again, I will listen to them more closely, and I will be more prepared.
Wednesday, February 4, 2009
Check-ch-check-check-check-ch-check it out
The day before change. In a dimly light room, the heat, the smell, the sound of the crowd, and the huge, frakking sandwich I had to eat while holding a cup of beer, this is what I was in before the Beastie Boys came on stage. But when they did, laying down the track and vocals to "Root Down," everything else faded away, if only for a moment. In the confines of the 9:30 club, I experienced the majesty of a Beastie Boys for the second time in three months. If nothing else, this presidential election has afforded me this.
Now, the boys did not arrive alone, being in tow Citizen Cope and Sheryl Crow, this lineup was one of the most interesting since the last Beastie concert.
Citizen Copy, being the second time I have seen him live, is still just as mellow as the first. Only recognizing songs from his first album under Dreamworks Records, "Let the Drummer Kick" and "Bullet and a Target" were stripped down affairs consisting of only his guitar, voice and limited backtracks. They were mildly refreshing and rewarding. In a smaller venue, I believe his performance would be greater appreciated.
As for Crow, a good rock show as always. She was optimistic about our new President and rightly began her set with "A Change Would Do You Good." Slightly less political since the last show I saw her at, it was nice to focus on the music a little more this evening. "If It Makes You Happy" was a highlight for me, the intro guitar riff, the huge sing-along chorus, the drums, they were all top notch. Closing her set with a cover of "Higher Ground," it reaffirmed that the Red Hot Chill Peppers did a much better job covering that song, but she did her part in making the night enjoyable.
Now, after a seemingly long delay, The Beastie Boys came on and basically had fun for an hour. The interaction with the crowd and with each other were top notch. After 20 plus years in existence, I still feel great energy and vibe from the boys. Sticking mainly with their Capital and Grand royal years, "So Whatcha Want," "Intergalactic," "Sure Shot" still sound fresh after all those years. And taking it back to their first album, "No Sleep 'til Brooklyn" was a audio delight, cutting in some new tracks and beats throughout the song, I enjoyed the travel back in spirit and time. Closing out on real instruments, they rocked an instrumental from The Mix Up, and rightfully closed out the show with "Sabotage" on all cylinders. It was great seeing them play that song live.
It was a great time, this was a sub par review, but overall, I am more than glad to see and write about the Beastie Boys.
Now, the boys did not arrive alone, being in tow Citizen Cope and Sheryl Crow, this lineup was one of the most interesting since the last Beastie concert.
Citizen Copy, being the second time I have seen him live, is still just as mellow as the first. Only recognizing songs from his first album under Dreamworks Records, "Let the Drummer Kick" and "Bullet and a Target" were stripped down affairs consisting of only his guitar, voice and limited backtracks. They were mildly refreshing and rewarding. In a smaller venue, I believe his performance would be greater appreciated.
As for Crow, a good rock show as always. She was optimistic about our new President and rightly began her set with "A Change Would Do You Good." Slightly less political since the last show I saw her at, it was nice to focus on the music a little more this evening. "If It Makes You Happy" was a highlight for me, the intro guitar riff, the huge sing-along chorus, the drums, they were all top notch. Closing her set with a cover of "Higher Ground," it reaffirmed that the Red Hot Chill Peppers did a much better job covering that song, but she did her part in making the night enjoyable.
Now, after a seemingly long delay, The Beastie Boys came on and basically had fun for an hour. The interaction with the crowd and with each other were top notch. After 20 plus years in existence, I still feel great energy and vibe from the boys. Sticking mainly with their Capital and Grand royal years, "So Whatcha Want," "Intergalactic," "Sure Shot" still sound fresh after all those years. And taking it back to their first album, "No Sleep 'til Brooklyn" was a audio delight, cutting in some new tracks and beats throughout the song, I enjoyed the travel back in spirit and time. Closing out on real instruments, they rocked an instrumental from The Mix Up, and rightfully closed out the show with "Sabotage" on all cylinders. It was great seeing them play that song live.
It was a great time, this was a sub par review, but overall, I am more than glad to see and write about the Beastie Boys.
Thursday, September 4, 2008
"Simple little bookworm...."
Whoa.
That is the word to describe last night at DAR Constitution Hall. No openers, no elaborate stage set; just a couple of bears on-stage and an epic three hour long set. That is all My Morning Jacket needed to provide a night of unforgettable live music in the most intimate of settings, sonically.
Opening directly with the lead track off their latest, "Evil Urges" set the tone by being loud and enveloping, yet gentle and cozy. The guitars, bass, keyboard, drums and Jim James extraordinary vocals provided the one-two punch for sonic bombardment. And it only got better from there, oh so much better.
Sticking closely with songs from their latest, they played a near flawless set. Tracks such as "I'm Amazed" showcased their fluidity and dexterity, coupled with confidence and swagger they have rightfully cultivated. Add the freakishness and near sexuality of "Highly Suspicious" was able to sway some hips in the crowd, they owned all facets of rock music.
They did have some sweetness and tenderness in their hearts with "Librarian" and somberness with "Nashville To Kentucky." A little off putting to some, but I enjoy the dichotomy of sound and emotion MMJ is able to invoke.
And on top of all that, they closed with "One Big Holiday." A stunner to leave the crowd salivating for more sugary sweetness that is My Morning Jacket. I did not do justice trying to describe their essence, you just need to see them live. Whatever lack of faith I had for live music, has been fully restored by the greatness of My Morning Jacket.
God, what a great night.
That is the word to describe last night at DAR Constitution Hall. No openers, no elaborate stage set; just a couple of bears on-stage and an epic three hour long set. That is all My Morning Jacket needed to provide a night of unforgettable live music in the most intimate of settings, sonically.
Opening directly with the lead track off their latest, "Evil Urges" set the tone by being loud and enveloping, yet gentle and cozy. The guitars, bass, keyboard, drums and Jim James extraordinary vocals provided the one-two punch for sonic bombardment. And it only got better from there, oh so much better.
Sticking closely with songs from their latest, they played a near flawless set. Tracks such as "I'm Amazed" showcased their fluidity and dexterity, coupled with confidence and swagger they have rightfully cultivated. Add the freakishness and near sexuality of "Highly Suspicious" was able to sway some hips in the crowd, they owned all facets of rock music.
They did have some sweetness and tenderness in their hearts with "Librarian" and somberness with "Nashville To Kentucky." A little off putting to some, but I enjoy the dichotomy of sound and emotion MMJ is able to invoke.
And on top of all that, they closed with "One Big Holiday." A stunner to leave the crowd salivating for more sugary sweetness that is My Morning Jacket. I did not do justice trying to describe their essence, you just need to see them live. Whatever lack of faith I had for live music, has been fully restored by the greatness of My Morning Jacket.
God, what a great night.
Thursday, July 17, 2008
You fu*king Jerk!!
So, after many years and missed opportunities, I have finally seen DJ Shadow spin live. And as an added treat, Cut Chemist was there as well. Touring their final leg of the "Hard Sell," I think I chose a good time to finally be available to see them create textured soundscapes to retreat and revel in.
I came a little late to the show because I'm old and tired now after I come back from work. Adulthood really does slow you down a bit. But once I stepped up to the ticket window and picked up my will-calls, I felt young again, rad.
As I stepped through the double doors, there they were, Shadow on the left and Chemist on the right. And in front of them, eight turntables, effect boards galore, and foot pedals to ensure they just would not stand bored with their hands busy.
After a short intro video on the history of the 45, they jumped right in, slowly at first, building and removing, sort of like an architect with a pencil and pad, drawing out designs and modifying and deleting as necessary. It would be a little challenging for some, building and destroying, moving forward and turn back, to the side, up, down, all around. Then, they hit the groove on one record and off we went to music nirvana.
Now, if you haven't seen or listened to their collaborations in the past, you should know they have some sort of foundation. With Brainfreeze and Product Placement, they stuck to soul, or Funk 45s, limiting themselves so they can truly experiment with what they got and build from there.
With this tour, they stuck to 45s, but expanded their palette to include hip hop, r&b, rock, etc. And it was good. Everything from the Beastie Boys to Foo Fighters to Metallica to Aaliyah to De La Soul was included. I do not know how they found a path to go from one to the other, but it was there and they took it.
Chemist seemed a little more reserved than usual, and Shadow was being Shadow, but I guess they were mainly focused on the music. Overall, it was a good 2 hours of sounds, blips, beeps, and portable DJing that helped me escape the monotony of a Wednesday night.
I came a little late to the show because I'm old and tired now after I come back from work. Adulthood really does slow you down a bit. But once I stepped up to the ticket window and picked up my will-calls, I felt young again, rad.
As I stepped through the double doors, there they were, Shadow on the left and Chemist on the right. And in front of them, eight turntables, effect boards galore, and foot pedals to ensure they just would not stand bored with their hands busy.
After a short intro video on the history of the 45, they jumped right in, slowly at first, building and removing, sort of like an architect with a pencil and pad, drawing out designs and modifying and deleting as necessary. It would be a little challenging for some, building and destroying, moving forward and turn back, to the side, up, down, all around. Then, they hit the groove on one record and off we went to music nirvana.
Now, if you haven't seen or listened to their collaborations in the past, you should know they have some sort of foundation. With Brainfreeze and Product Placement, they stuck to soul, or Funk 45s, limiting themselves so they can truly experiment with what they got and build from there.
With this tour, they stuck to 45s, but expanded their palette to include hip hop, r&b, rock, etc. And it was good. Everything from the Beastie Boys to Foo Fighters to Metallica to Aaliyah to De La Soul was included. I do not know how they found a path to go from one to the other, but it was there and they took it.
Chemist seemed a little more reserved than usual, and Shadow was being Shadow, but I guess they were mainly focused on the music. Overall, it was a good 2 hours of sounds, blips, beeps, and portable DJing that helped me escape the monotony of a Wednesday night.
Thursday, July 10, 2008
The Kills and Cure
Finally, I'm sort of back on track for concert reviews since I've got some time.
The Kills, composed of a British guy and an expat from Florida that make garagy-type music if you want to file it under a title. Their latest, Midnight Boom, is a bit more polished than their earlier records, but that sheen has provoked some good rhythmic beats and sing-song that translate well live at the Black Cat.
They opened with "U.R.A Fever," not exactly being totally original by opening with the first song off their new record, but surprisingly appropriate to introduce themselves to an audience. With Jamie clad in a leather and Alison in her becoming signature leopard-print coat, they interacted with each other providing musicality from his guitar, her voice overs, and a drum machine. Very sparse, yet muscular in tone and presence.
Mainly sticking to their latest to provide musical foliage for the evening, some standouts included "Alphabet," "Cheap + Cheerful," "What NY Used to Be," and the highlight for me being "Last Days of Magic." That guitar that maintains through the song, and Alison's voice, man, one of the best songs of '08.
Opening for them was Telepathe, a four-piece from Brooklyn with some weird abstract, dance beats and three front women interacting with each other on vocal duties. There was a guitarist, but I rarely heard any sound from him, weird. But nice people to talk to after the show and discuss non-sensical tour routes with.
The week after, the Cure, what can you say about these guys except they are legends. Opening with "Plainsong," with the sparkly backdrop matching the sounds of the song in the beginning, awesome. And they've been around for so long that there was not a bad song in the set list. "Lullably," "Fascination Street," "Love Song", "Just Like Heaven," and even "Pornography;" which is my favorite Cure song. After nearly three hours of wall-to-wall music, I had to throw in the towel due to fatigue and leave, first time I have ever left a concert before the encore. I swear they had at least another hour or two in them, they don't make bands like that anymore. So, if you have not yet seen the Cure live, do it. And wear comfortable shoes because some amount of droning, or dancing, will occur. You can't fight the Cure.
The Kills, composed of a British guy and an expat from Florida that make garagy-type music if you want to file it under a title. Their latest, Midnight Boom, is a bit more polished than their earlier records, but that sheen has provoked some good rhythmic beats and sing-song that translate well live at the Black Cat.
They opened with "U.R.A Fever," not exactly being totally original by opening with the first song off their new record, but surprisingly appropriate to introduce themselves to an audience. With Jamie clad in a leather and Alison in her becoming signature leopard-print coat, they interacted with each other providing musicality from his guitar, her voice overs, and a drum machine. Very sparse, yet muscular in tone and presence.
Mainly sticking to their latest to provide musical foliage for the evening, some standouts included "Alphabet," "Cheap + Cheerful," "What NY Used to Be," and the highlight for me being "Last Days of Magic." That guitar that maintains through the song, and Alison's voice, man, one of the best songs of '08.
Opening for them was Telepathe, a four-piece from Brooklyn with some weird abstract, dance beats and three front women interacting with each other on vocal duties. There was a guitarist, but I rarely heard any sound from him, weird. But nice people to talk to after the show and discuss non-sensical tour routes with.
The week after, the Cure, what can you say about these guys except they are legends. Opening with "Plainsong," with the sparkly backdrop matching the sounds of the song in the beginning, awesome. And they've been around for so long that there was not a bad song in the set list. "Lullably," "Fascination Street," "Love Song", "Just Like Heaven," and even "Pornography;" which is my favorite Cure song. After nearly three hours of wall-to-wall music, I had to throw in the towel due to fatigue and leave, first time I have ever left a concert before the encore. I swear they had at least another hour or two in them, they don't make bands like that anymore. So, if you have not yet seen the Cure live, do it. And wear comfortable shoes because some amount of droning, or dancing, will occur. You can't fight the Cure.
Monday, May 12, 2008
so go away....
The evening was wonderful; certainly a lot better than how my day was going that Monday.
I was pleasantly surprised by the Envy Corps. They were a young group who need a bit more time to polish their sound, but what I heard that night provided a solid foundation for them to grow on. I do not know any of their songs by name, but the last and third to last song were visceral and provided a nice ambiance to counteract the band to follow. I did buy their album, so I'm anxious to listen and learn more about this band. I would be up to seeing them play again.
Vedera were okay. The lead singer was a cutie as stated earlier, their songs were pleasing. I think I might need a little more time to absorb their sound, but what I heard piqued my interest. I grabbed a copy of the free EP, so I'll give that a spin and if I like what I hear, I'll be sure to get their "official" EP off iTunes.
Myriad and I just didn't seem to mesh well together that night. Not to discredit them, but they reminded me too much of Thrice. I like Thrice, but Myriad did not distinguish themselves too much for me to identify with them. If their song came on the radio, I wouldn't rush to change the station, but I would most likely push the song into the background. Not really a general criticism, more of a "not my cup of tea" band at the moment; although the viola bow playing did remind me of Sigur Ros and Jimmy Page.
Now, Eisley was good. This was my first time seeing them live, and I was not disappointed. They played all the songs I wanted, which was nice. Highlights for me were "Golly Sandra," "Marvelous Things," "Many Funerals," "Taking Control," and "Ten Cent Blues." A little less talkative than I had hoped, but I did enjoy their focus on the music. Their younger sister performed well on an intro into a song, and I thought it was cute to see Sherri left her up. And the little vocal solo by Chauntelle was the highlight of the evening for me.
All in all, a good night of live music. I would have liked to talk with them after the show, but a show on a Monday night does not live much time for hanging around afterwards when you need to catch the last Metro home.
I was pleasantly surprised by the Envy Corps. They were a young group who need a bit more time to polish their sound, but what I heard that night provided a solid foundation for them to grow on. I do not know any of their songs by name, but the last and third to last song were visceral and provided a nice ambiance to counteract the band to follow. I did buy their album, so I'm anxious to listen and learn more about this band. I would be up to seeing them play again.
Vedera were okay. The lead singer was a cutie as stated earlier, their songs were pleasing. I think I might need a little more time to absorb their sound, but what I heard piqued my interest. I grabbed a copy of the free EP, so I'll give that a spin and if I like what I hear, I'll be sure to get their "official" EP off iTunes.
Myriad and I just didn't seem to mesh well together that night. Not to discredit them, but they reminded me too much of Thrice. I like Thrice, but Myriad did not distinguish themselves too much for me to identify with them. If their song came on the radio, I wouldn't rush to change the station, but I would most likely push the song into the background. Not really a general criticism, more of a "not my cup of tea" band at the moment; although the viola bow playing did remind me of Sigur Ros and Jimmy Page.
Now, Eisley was good. This was my first time seeing them live, and I was not disappointed. They played all the songs I wanted, which was nice. Highlights for me were "Golly Sandra," "Marvelous Things," "Many Funerals," "Taking Control," and "Ten Cent Blues." A little less talkative than I had hoped, but I did enjoy their focus on the music. Their younger sister performed well on an intro into a song, and I thought it was cute to see Sherri left her up. And the little vocal solo by Chauntelle was the highlight of the evening for me.
All in all, a good night of live music. I would have liked to talk with them after the show, but a show on a Monday night does not live much time for hanging around afterwards when you need to catch the last Metro home.
Sunday, May 4, 2008
Unless it kicks man....
First of all, Neko was there, but she was sick and couldn't perform, that sucked. Secondly, I am in love with Kathryn Calder. Third, Okkervil River was inspiring.
Monday concerts are tricky, I mean it's Monday, so that's already a strike against the band. But Okkervil River removed the stigma of Mondays and provided a timeless environment to perform in. Digging right into the setting of DC, they began with "The President's Dead" with conviction. Seriously, I do believe I took a step back to absorb all this in. And then the politics of the evening were done with and it was just about the music. This is where the set really took off.
"It Ends With A Fall" provided romantic fodder for the couples in the crowd, and it even made my heart beat for a moment or two. "A Girl in Port" was a solid selection that only emphasized their latest album, The Stage Names, is their best yet; seriously, if you do not own this album, after reading this, go out and buy this now or download it from emusic.com.
Their strength and the greatest closing sequence of songs began with "Our Life is Not a Movie, Or Maybe." The band put their entire bodies into this song, I actually thought the drummer's head would fall off because he was banging his head so hard. This was followed by "So Real," which only added more majestic respect from me for this band. I have never heard this song with such intensity before, I still play it in my head as much as I can. And this was followed by an even better song, "Unless It Kicks." This song has more plays than any other song for the past couple of months. This song rejuvenates my love for music and even humanity because sometimes it can create such beauty as this song. And to close it all out, "Westfall." This song is ...... I can't describe it, you just have to listen to it over and over and over. The subject matter may be a bit of a downer, but I don't care because this one has heart, which I so desperately need in my life.
Now, after all this, I still had The New Pornographers to listen to. They were good, but to follow up Okkervil River is a tough task. If only they had Neko to help them bring it, but she was recovering, reminding me that musician are human to; I hate that. But Kathyrn was there to cover all the bases, and she did. She even earned a new superhero nickname of "Super Sexy Girl." And that she is, with a near even split of vocal duties, she did not disappoint and was one of the highlights of the night. She did her own spin on "Challengers" and "From Blown Speakers." It was a good night for them with her around. And I did enjoy the onstage banter Carl and her provided, the interaction between the whole band was superb.
I know I am not giving the New Pornographers justice in this one, but Okkervil River was god-like that night. See them both.
Monday concerts are tricky, I mean it's Monday, so that's already a strike against the band. But Okkervil River removed the stigma of Mondays and provided a timeless environment to perform in. Digging right into the setting of DC, they began with "The President's Dead" with conviction. Seriously, I do believe I took a step back to absorb all this in. And then the politics of the evening were done with and it was just about the music. This is where the set really took off.
"It Ends With A Fall" provided romantic fodder for the couples in the crowd, and it even made my heart beat for a moment or two. "A Girl in Port" was a solid selection that only emphasized their latest album, The Stage Names, is their best yet; seriously, if you do not own this album, after reading this, go out and buy this now or download it from emusic.com.
Their strength and the greatest closing sequence of songs began with "Our Life is Not a Movie, Or Maybe." The band put their entire bodies into this song, I actually thought the drummer's head would fall off because he was banging his head so hard. This was followed by "So Real," which only added more majestic respect from me for this band. I have never heard this song with such intensity before, I still play it in my head as much as I can. And this was followed by an even better song, "Unless It Kicks." This song has more plays than any other song for the past couple of months. This song rejuvenates my love for music and even humanity because sometimes it can create such beauty as this song. And to close it all out, "Westfall." This song is ...... I can't describe it, you just have to listen to it over and over and over. The subject matter may be a bit of a downer, but I don't care because this one has heart, which I so desperately need in my life.
Now, after all this, I still had The New Pornographers to listen to. They were good, but to follow up Okkervil River is a tough task. If only they had Neko to help them bring it, but she was recovering, reminding me that musician are human to; I hate that. But Kathyrn was there to cover all the bases, and she did. She even earned a new superhero nickname of "Super Sexy Girl." And that she is, with a near even split of vocal duties, she did not disappoint and was one of the highlights of the night. She did her own spin on "Challengers" and "From Blown Speakers." It was a good night for them with her around. And I did enjoy the onstage banter Carl and her provided, the interaction between the whole band was superb.
I know I am not giving the New Pornographers justice in this one, but Okkervil River was god-like that night. See them both.
I'm just a happy kid, with a heart of a sad punk...
Now, I've seen Nada Surf multiple times, most often in tiny venues where the show is extremely intimate. This would be the first time I would see them in a larger setting with a large crowd of hopeful fans. And what do I do, I nearly miss the show; but it was for a good reason, I would've been hanging out with friends if they didn't fall asleep because they're "mature."
Anyways, I make it to the show about 30 minutes late, once again missing the opening act, and missing the first third of the set of Nada Surf. Yeah, I was a little miffed at myself for doing so. But it was also a good thing, because what song do they immediately play after my arrival. Only my most favorite song in the Nada Surf catalog, "Inside of Love." It's song selection like that that make feel like a big softie, my solution, I try to listen to as much Mastodon and Dillinger Escape Plan, yeah, I'm hardcore.
Continuing on, "Inside of Love" was just awesome in that huge setting. Seriously, I am glad I made this show and saw Nada Surf in their huge rock 'n roll environment. I thought they were good in small venues, but they owned the stage at the 9:30 club in a sold-out show. Every song sounded huge, every person in the club was feeling it and gave as much back to the band as the band was giving it out.
They even had a fox hat for their song, "The Fox." Yeah, I know, it would seem too easy, but the song is dark, yet hopeful, a nice balance of comedy and maturity.
Their encore was probably the second best collection of songs played live from one band. It mostly came from Let Go. "Blizzard of '77," "Blonde on Blonde," "Always Love," and "Blankest Year." Blizzard and Blonde were performed with musicianship that rivaled any other band I've seen. But "Always Love" had the sound and soul that for a moment of time, was unbeatable compared to any band on the planet that night. I fell in love with that song all over again like meeting a girl at a record store and she has all the albums you hate, but you're attracted to her for some reason; I hate it when that happens. But they did cap off the night with fun, hopefulness, and the energy of youth. What other song can you just sing-scream "ah fuck it!" and let it be so carefree and nonchalant? I miss that show already.
"I saw a swarm of fruit flies, I took the bag downstairs....snowflakes in the air, I'm sorry, I got no where to go...."
Anyways, I make it to the show about 30 minutes late, once again missing the opening act, and missing the first third of the set of Nada Surf. Yeah, I was a little miffed at myself for doing so. But it was also a good thing, because what song do they immediately play after my arrival. Only my most favorite song in the Nada Surf catalog, "Inside of Love." It's song selection like that that make feel like a big softie, my solution, I try to listen to as much Mastodon and Dillinger Escape Plan, yeah, I'm hardcore.
Continuing on, "Inside of Love" was just awesome in that huge setting. Seriously, I am glad I made this show and saw Nada Surf in their huge rock 'n roll environment. I thought they were good in small venues, but they owned the stage at the 9:30 club in a sold-out show. Every song sounded huge, every person in the club was feeling it and gave as much back to the band as the band was giving it out.
They even had a fox hat for their song, "The Fox." Yeah, I know, it would seem too easy, but the song is dark, yet hopeful, a nice balance of comedy and maturity.
Their encore was probably the second best collection of songs played live from one band. It mostly came from Let Go. "Blizzard of '77," "Blonde on Blonde," "Always Love," and "Blankest Year." Blizzard and Blonde were performed with musicianship that rivaled any other band I've seen. But "Always Love" had the sound and soul that for a moment of time, was unbeatable compared to any band on the planet that night. I fell in love with that song all over again like meeting a girl at a record store and she has all the albums you hate, but you're attracted to her for some reason; I hate it when that happens. But they did cap off the night with fun, hopefulness, and the energy of youth. What other song can you just sing-scream "ah fuck it!" and let it be so carefree and nonchalant? I miss that show already.
"I saw a swarm of fruit flies, I took the bag downstairs....snowflakes in the air, I'm sorry, I got no where to go...."
Saturday, May 3, 2008
Two night stay in Towson
It's been awhile since I've been to the Recher Theatre for a concert, but it was a welcoming homecoming with the Weakerthans on Thursday, and State Radio on Friday.
The Weakerthans were the better of the two for me. Mainly sticking to their latest album, Reunion Tour, it was a wonderful, mellow night to ease myself into the weekend. "Tournament of Hearts" was my first notice of this band and the first song of the night I really got into. The New Pornographers may be the more adventurious band out of Canada, but the Weakerthans have more confidence with less swagger. I like them. The best song of the night was "Plea From A Cat Named Virtute." An epic, yet subtle rong song with twin guitars striking in unison, simply mesmerizing.
State Radio, in all honesty, there were alright. Not really my cup of tea, but enjoyable to most people and provides a gateway into music politics for college kids of all ages. I wouldn't go out of my way to see them live again, but if it was free, then sure.
The Weakerthans were the better of the two for me. Mainly sticking to their latest album, Reunion Tour, it was a wonderful, mellow night to ease myself into the weekend. "Tournament of Hearts" was my first notice of this band and the first song of the night I really got into. The New Pornographers may be the more adventurious band out of Canada, but the Weakerthans have more confidence with less swagger. I like them. The best song of the night was "Plea From A Cat Named Virtute." An epic, yet subtle rong song with twin guitars striking in unison, simply mesmerizing.
State Radio, in all honesty, there were alright. Not really my cup of tea, but enjoyable to most people and provides a gateway into music politics for college kids of all ages. I wouldn't go out of my way to see them live again, but if it was free, then sure.
Les Savy Fav and Rhett Miller
No, Les Savy Fav and Rhett Miller did not tour together to meld Alt-Country and the Brooklyn sound, but it would've been cool if they did.
Les Savy Fav happened on a Friday night at the Black Cat. First up were the Dodos, two guys with guitars and another with a drum, but they had a lot of soul. I picked up their new album, Visiter, yeah, the hype is real and it is good. You need to buy this album now to occupy your Saturday night to Sunday morning transition. And live, they are every bit as good as you would expect after listening to the album.
Up next were the Big Sleep. Truly a Brooklyn band that reminded me of a jam-band based Sonic Youth, I know, that reference was too easy to pull off. A groovy sound with a bass, drum kit, and guitar. There are sparingly little vocals, they just want to create a sonic environment to allow the listener to bang their head and wrap their minds around the seemingly complex, yet truly simple sound. They are a perfect headphone band, something to provide a soundtrack for your life.
Example, "Slow Race" is perfect to listen to while walking down the street. And live, it's even better to allow you to warm up. A chugging beat and riff that aburbtly stops and segues into another song like the snap of the finger. "Murder" is one of their songs that actually has lyrics, but the vocal is simply another layer of the song that melds into the instrumentation, rather than be the focal point.
And I loved their minimalistic stage setup, just them around a light blub to create an errie, yet inviting rock show. Get into them now.
Now, Les Savy Fav. Wow, OMG, what the hell did I just witness, I want to see it again and again. Seriously, this band is good live, plain and simple. It's the only show I've been that had a subplot with the President, his daughter, and a cybernetic bear suit, and it was awesome. I mean, the lead singer even wore a cape, how cool is that!?
The obsession and reverence begin with "Yawn, Yawn, Yawn." A guitar riff, that was it. Simple, enticing, and merged into the chorus with energy that could power a country. This song was just amazing live. "Reprobate's Resume." A crowd favorite that induced craziness and movement that coupled the band and audience together. I am still shaking my head at the actions of the singer, simply walking into the audience and inviting the crowd to get in on the fun. There is no secrets with this band, they live for music and people. Of all the bands I've seen, these are still the ones to beat, and I don't think that will ever happen.
Sadly, the next night Rhett Miller had to follow the madness of Les Savy Fav. He did good, but not good enough. Don't get me wrong, with just Rhett Miller, the weekend of music would have still been great, but Les Savy Fav is another beast entirely. But letting my memory go of Les Savy Fav. Rhett Miller was personable, providing great fodder, and generating great music from only him and his guitar. A simple show to ground myself back into reality and come to terms with Sunday morning.
I know, I am not doing the Rhett Miller show justice, but Les Savy Fav was just a juggernaut.
Les Savy Fav happened on a Friday night at the Black Cat. First up were the Dodos, two guys with guitars and another with a drum, but they had a lot of soul. I picked up their new album, Visiter, yeah, the hype is real and it is good. You need to buy this album now to occupy your Saturday night to Sunday morning transition. And live, they are every bit as good as you would expect after listening to the album.
Up next were the Big Sleep. Truly a Brooklyn band that reminded me of a jam-band based Sonic Youth, I know, that reference was too easy to pull off. A groovy sound with a bass, drum kit, and guitar. There are sparingly little vocals, they just want to create a sonic environment to allow the listener to bang their head and wrap their minds around the seemingly complex, yet truly simple sound. They are a perfect headphone band, something to provide a soundtrack for your life.
Example, "Slow Race" is perfect to listen to while walking down the street. And live, it's even better to allow you to warm up. A chugging beat and riff that aburbtly stops and segues into another song like the snap of the finger. "Murder" is one of their songs that actually has lyrics, but the vocal is simply another layer of the song that melds into the instrumentation, rather than be the focal point.
And I loved their minimalistic stage setup, just them around a light blub to create an errie, yet inviting rock show. Get into them now.
Now, Les Savy Fav. Wow, OMG, what the hell did I just witness, I want to see it again and again. Seriously, this band is good live, plain and simple. It's the only show I've been that had a subplot with the President, his daughter, and a cybernetic bear suit, and it was awesome. I mean, the lead singer even wore a cape, how cool is that!?
The obsession and reverence begin with "Yawn, Yawn, Yawn." A guitar riff, that was it. Simple, enticing, and merged into the chorus with energy that could power a country. This song was just amazing live. "Reprobate's Resume." A crowd favorite that induced craziness and movement that coupled the band and audience together. I am still shaking my head at the actions of the singer, simply walking into the audience and inviting the crowd to get in on the fun. There is no secrets with this band, they live for music and people. Of all the bands I've seen, these are still the ones to beat, and I don't think that will ever happen.
Sadly, the next night Rhett Miller had to follow the madness of Les Savy Fav. He did good, but not good enough. Don't get me wrong, with just Rhett Miller, the weekend of music would have still been great, but Les Savy Fav is another beast entirely. But letting my memory go of Les Savy Fav. Rhett Miller was personable, providing great fodder, and generating great music from only him and his guitar. A simple show to ground myself back into reality and come to terms with Sunday morning.
I know, I am not doing the Rhett Miller show justice, but Les Savy Fav was just a juggernaut.
The Raveonettes and Lust, Lust, Lust
Another night of wonderful music to cap off the month of March.
Although I did miss the openers of this show, which I really hate to do because I believe that is the best way to find new bands, music, and sounds. I did enjoy my time spent with The Raveonettes.
A Danish band rooted in the sounds of back in the day on their previous albums, Lust, Lust, Lust seems to be finding a better way to marry the sounds of yesteryear with the contemporary stylings of today, and I like it.
It has been a while since the show happened, I do remember hearing "Hallucinations" as the first song that captured my eyes and attention live. With Sune and Sharon occupying their sides of the stage with a pair of microphones and guitars, they took their time to build this soundstage that consisted of a simple guitar riff that gave way to sharp distortion with a nice beat to tie it all together in one, big bow of musical goodness.
Next up for me was "You Want the Candy" that I do believe made me dance a little; much to the horror of all the sober people in my vicinity. But I was unaware of that as this song provided a nice escape with seemingly happy sounds that sugar-coated the dark environment of the Black Cat. Truly a saccharin-induced moment in my life.
"Love In A Trashcan" was another highlight that provided wonderful hip-swinging beats to accompany a clean-sounding guitar riff that melted into a rhythm that everyone had to succumb to and had to move no matter what.
An evening full of dancing, distortion, paired vocals, what more could you ask for on a DC Saturday night.
Although I did miss the openers of this show, which I really hate to do because I believe that is the best way to find new bands, music, and sounds. I did enjoy my time spent with The Raveonettes.
A Danish band rooted in the sounds of back in the day on their previous albums, Lust, Lust, Lust seems to be finding a better way to marry the sounds of yesteryear with the contemporary stylings of today, and I like it.
It has been a while since the show happened, I do remember hearing "Hallucinations" as the first song that captured my eyes and attention live. With Sune and Sharon occupying their sides of the stage with a pair of microphones and guitars, they took their time to build this soundstage that consisted of a simple guitar riff that gave way to sharp distortion with a nice beat to tie it all together in one, big bow of musical goodness.
Next up for me was "You Want the Candy" that I do believe made me dance a little; much to the horror of all the sober people in my vicinity. But I was unaware of that as this song provided a nice escape with seemingly happy sounds that sugar-coated the dark environment of the Black Cat. Truly a saccharin-induced moment in my life.
"Love In A Trashcan" was another highlight that provided wonderful hip-swinging beats to accompany a clean-sounding guitar riff that melted into a rhythm that everyone had to succumb to and had to move no matter what.
An evening full of dancing, distortion, paired vocals, what more could you ask for on a DC Saturday night.
Virgin post
Yep, it's my first post. Here goes....
I have just completed my musical concert odyssey for March and April. It was sweet.
First off was Stephen Malkmus and the Jinks. It was a fuzz bucket of guitar riffs and minimalistic classic rock and roll that was rooted in the foundation of coolness and slacker-dom, while maybe not the slacker part.
As someone else stated, this is not your typical "dad-rock" ala Coldplay. Even though Stephen is now a father and an adult, he is still able to write and perform epic songs that seemingly drag on, but at the end of the journey, all you can say is "whoa." "Dragonfly Pie" was a scuzz soundscape that the band took to the next level and transcended the mere mortal recording on the album.
Janet Weiss is a wonderful and necessary addition to this land. Although I will forever wish to see her play with Sleater-Kinney over and over, she roots this band and sound with maturity and soul.
I wholly recommend you see Stephen Malkmus and the Jinks live and get the album now, if only for the epic-length "Real Emotional Trash." It not only summed up to me a typically day of life, but experienced live, brings a new definition to accepting parenthood and taking the next step in life.
I have just completed my musical concert odyssey for March and April. It was sweet.
First off was Stephen Malkmus and the Jinks. It was a fuzz bucket of guitar riffs and minimalistic classic rock and roll that was rooted in the foundation of coolness and slacker-dom, while maybe not the slacker part.
As someone else stated, this is not your typical "dad-rock" ala Coldplay. Even though Stephen is now a father and an adult, he is still able to write and perform epic songs that seemingly drag on, but at the end of the journey, all you can say is "whoa." "Dragonfly Pie" was a scuzz soundscape that the band took to the next level and transcended the mere mortal recording on the album.
Janet Weiss is a wonderful and necessary addition to this land. Although I will forever wish to see her play with Sleater-Kinney over and over, she roots this band and sound with maturity and soul.
I wholly recommend you see Stephen Malkmus and the Jinks live and get the album now, if only for the epic-length "Real Emotional Trash." It not only summed up to me a typically day of life, but experienced live, brings a new definition to accepting parenthood and taking the next step in life.
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