Context.
Need I say more?
~Austin
The inane blabberings of an admitted music addict. Best viewed in web version.
Tuesday, April 17, 2012
HOLOGRAMS RULE!!!
Context.
Need I say more?
~Austin
Saturday, April 7, 2012
What's New?: 4.6.2012 Part Two
Recent vinyl finds. . .
The Byrds — Fifth Dimension (1966)
Guess they had to make one not-so-hot album in their run of seemingly untouchable albums. Plenty of fancy tunes though, regardless. It just doesn't hold together as an album at all. David Crosby's 'What's Happening?!?!' is the album highlight and one of my definitive 60's jangle songs, already. Wonderful stuff. Of course, this has the all time psych classic 'Eight Miles High' on it and I have to still marvel at how badass that opening vamp is. In 1966, I imagine that genuinely did freak people out. Side two is where the problems arise (I mean, other than there being no Dylan covers on the album), as the album just ventures off into a territory of experimentation for the sake of trying something "new man" in the face of Gene Clark's departure. It's not bad stuff, per se. Just everything good is up front.
Jorge Ben — Samba Nova (1976)
Jorge Ben is one of the most trusted names in my collection by this point. This is my ninth album of his and, of the previous eight, I'd consider them all at least minor personal classics. This one follows hot on the heels of his all time funk classic África Brasil. But it differs in sound slightly, as it ventures back into his more traditional territory of slower, acoustic guitar-based tunes, with no horn section. The very first song 'Oba, Lá Vem Ela' is case in point. A mid-tempo groove is accented by a brilliantly arranged —presumably by producer Paulinho Tapajos— string section that recalls David Axelrod more than a little bit. Elsewhere, 'O Circo Chegoo' recalls his late 60's albums with Trio Mocoto, while 'Hermes Trimegistro E Sua' is the sort of easy breezing gem that makes his music so likable in the first place. Yes, it tones down the funk, but I prefer the more rootsy and stripped down Jorge Ben anyway. It was a total accident of a find, and even I was skeptical after seeing the late date on it, but it's actually one of my better finds in recent times. More "buy vinyl" propaganda: the copy of this album I found was a promo pack that came with a glossy black and white 8x10 photo and a short one sheet bio. Just really can't get any cooler than that.
Bill Evans — Since We Met (1974)
A Bill Evans album I didn't already have! There are so few of them, as far as the official discography goes, that I did a real live quintuple take at the cover to make sure I didn't recognize it. It's a 70's album, so Eddie Gomez and Marty Morell fill out the trio on bass and drums respectively. And I really don't have much else to say about it other than that it's a predictably resonating, strong and solitary performance from one of my favorite bands of all time. The title track was a new composition at the time (and oh boy, is it a good one; capturing Bill at his tension-building best). Side two closes out with three classics that Bill honed to perfection with this band: 'Time Remembered', 'Turn Out the Stars' and a really thoughtful 'But Beautiful.' Hard to talk about such consistently brilliant music that's so closely related to so much other music of Bill's that I've treasured for over half my life. Absolute perfection. As usual.
Dave Brubeck — Time Further Out (1961)
Playing on the Brubeck group's notoriety for being able to play catchy tunes (and swing their merry arses off all the same) in time signatures other than the standard 4/4. Hell, the meters are even listed on the album cover next to the song titles! Been wanting to get deeper into Paul Desmond's catalogue for quite some time, so this was a nice thrift store find. I've already got a pretty good cross section of Brubeck albums and I've yet to encounter one that wasn't fairly good and this one is no exception. 'Far More Blue' is an absolutely unabashed 'Take Five' rewrite. But, guess what? It's really good, too. 'Unsquare Dance' will have you clapping along, while 'Blue Shadows in the Street' sounds like the best-ever film noir soundtrack. Great stuff. And completely recommended if you like Time Out and are looking for the next best thing.
Fairport Convention — Fairport Chronicles (late 60's/early 70's)
I frown on compilations, normally, but this was a bargain I could not say no to. I had roughly half of it previous, but as it contains a huge chunk of What We Did On Our Holidays (the only album of the classic Fairport era I don't have), it was of extreme interest to me. The really juicy tidbit included here, for me, was the single-only release 'Now Be Thankful.' Great stuff. Other discoveries to be had here are the atmospheric and lovely 'The Way I Feel' (released under the name Fotheringay) and the epic nine minute meditation 'Sloth.' Edit out the tracks I already had on other albums and this thing hangs together suprisingly well as a place holder until I can track everything else down. I can only imagine what I'd think if everything here was my first taste.
William Ackerman — Childhood and Memory (1979)
More early Windham Hill stuff from the label's founder. "New Age" debate is out the window, because the official word is that this guy jams. 'Seattle' is really the only bluegrass-y strummer on the album, as the rest of the pieces here are back to the slower, more contemplative sound that also dominates his first two albums (Childhood was Will's third proper album). The album's first track 'The Wall and the Wind' is a good indicator the whole thing. This time out, there is a duet with Dave Ross contributing flute to the excellent (and probably my favorite track on the album) 'Anne's Song.' Otherwise, it's all Will's fingers doing the guitar work (save for 'Sunday Rain', which features some multi-tracked work with a gorgeous banjo line). And, as such, it's really easy stuff to get into, especially since I liked his two previous albums so much and this is essentially an extension of them. Wonderful music.
Van Dyke Parks — Song Cycle (1968)
Supposedly a classic. Whatever. Strikes me as too smarty pants for its own good. Good tunes, in some cases though. Just have a listen to the first track 'Vine Street' for an instance of what I'm talking about. Beginning with a country band, jamming away and then swooping into a schmaltzy, full orchestral pop backing, Van Dyke sings about the tape you just heard. I get that it's totally "brilliant man" with all of the "genius" backing and everything, but I just don't hear very many good melodies, honestly. Seems like a case of presentation over actual substance. I've sat with it for a week now and I still don't feel like anything is jumping out at me. And the fact that the album's lone cover (of 'Donovan's Colours') is probably also its highlight should say all it needs to. I don't get it; yet it's still decent, just based on its sound and era of inception. This is my most negative "positive" review ever. Hope you liked it.
~Austin
Guess they had to make one not-so-hot album in their run of seemingly untouchable albums. Plenty of fancy tunes though, regardless. It just doesn't hold together as an album at all. David Crosby's 'What's Happening?!?!' is the album highlight and one of my definitive 60's jangle songs, already. Wonderful stuff. Of course, this has the all time psych classic 'Eight Miles High' on it and I have to still marvel at how badass that opening vamp is. In 1966, I imagine that genuinely did freak people out. Side two is where the problems arise (I mean, other than there being no Dylan covers on the album), as the album just ventures off into a territory of experimentation for the sake of trying something "new man" in the face of Gene Clark's departure. It's not bad stuff, per se. Just everything good is up front.
Jorge Ben — Samba Nova (1976)
Jorge Ben is one of the most trusted names in my collection by this point. This is my ninth album of his and, of the previous eight, I'd consider them all at least minor personal classics. This one follows hot on the heels of his all time funk classic África Brasil. But it differs in sound slightly, as it ventures back into his more traditional territory of slower, acoustic guitar-based tunes, with no horn section. The very first song 'Oba, Lá Vem Ela' is case in point. A mid-tempo groove is accented by a brilliantly arranged —presumably by producer Paulinho Tapajos— string section that recalls David Axelrod more than a little bit. Elsewhere, 'O Circo Chegoo' recalls his late 60's albums with Trio Mocoto, while 'Hermes Trimegistro E Sua' is the sort of easy breezing gem that makes his music so likable in the first place. Yes, it tones down the funk, but I prefer the more rootsy and stripped down Jorge Ben anyway. It was a total accident of a find, and even I was skeptical after seeing the late date on it, but it's actually one of my better finds in recent times. More "buy vinyl" propaganda: the copy of this album I found was a promo pack that came with a glossy black and white 8x10 photo and a short one sheet bio. Just really can't get any cooler than that.
Bill Evans — Since We Met (1974)
A Bill Evans album I didn't already have! There are so few of them, as far as the official discography goes, that I did a real live quintuple take at the cover to make sure I didn't recognize it. It's a 70's album, so Eddie Gomez and Marty Morell fill out the trio on bass and drums respectively. And I really don't have much else to say about it other than that it's a predictably resonating, strong and solitary performance from one of my favorite bands of all time. The title track was a new composition at the time (and oh boy, is it a good one; capturing Bill at his tension-building best). Side two closes out with three classics that Bill honed to perfection with this band: 'Time Remembered', 'Turn Out the Stars' and a really thoughtful 'But Beautiful.' Hard to talk about such consistently brilliant music that's so closely related to so much other music of Bill's that I've treasured for over half my life. Absolute perfection. As usual.
Dave Brubeck — Time Further Out (1961)
Playing on the Brubeck group's notoriety for being able to play catchy tunes (and swing their merry arses off all the same) in time signatures other than the standard 4/4. Hell, the meters are even listed on the album cover next to the song titles! Been wanting to get deeper into Paul Desmond's catalogue for quite some time, so this was a nice thrift store find. I've already got a pretty good cross section of Brubeck albums and I've yet to encounter one that wasn't fairly good and this one is no exception. 'Far More Blue' is an absolutely unabashed 'Take Five' rewrite. But, guess what? It's really good, too. 'Unsquare Dance' will have you clapping along, while 'Blue Shadows in the Street' sounds like the best-ever film noir soundtrack. Great stuff. And completely recommended if you like Time Out and are looking for the next best thing.
Fairport Convention — Fairport Chronicles (late 60's/early 70's)
I frown on compilations, normally, but this was a bargain I could not say no to. I had roughly half of it previous, but as it contains a huge chunk of What We Did On Our Holidays (the only album of the classic Fairport era I don't have), it was of extreme interest to me. The really juicy tidbit included here, for me, was the single-only release 'Now Be Thankful.' Great stuff. Other discoveries to be had here are the atmospheric and lovely 'The Way I Feel' (released under the name Fotheringay) and the epic nine minute meditation 'Sloth.' Edit out the tracks I already had on other albums and this thing hangs together suprisingly well as a place holder until I can track everything else down. I can only imagine what I'd think if everything here was my first taste.
William Ackerman — Childhood and Memory (1979)
More early Windham Hill stuff from the label's founder. "New Age" debate is out the window, because the official word is that this guy jams. 'Seattle' is really the only bluegrass-y strummer on the album, as the rest of the pieces here are back to the slower, more contemplative sound that also dominates his first two albums (Childhood was Will's third proper album). The album's first track 'The Wall and the Wind' is a good indicator the whole thing. This time out, there is a duet with Dave Ross contributing flute to the excellent (and probably my favorite track on the album) 'Anne's Song.' Otherwise, it's all Will's fingers doing the guitar work (save for 'Sunday Rain', which features some multi-tracked work with a gorgeous banjo line). And, as such, it's really easy stuff to get into, especially since I liked his two previous albums so much and this is essentially an extension of them. Wonderful music.
Van Dyke Parks — Song Cycle (1968)
Supposedly a classic. Whatever. Strikes me as too smarty pants for its own good. Good tunes, in some cases though. Just have a listen to the first track 'Vine Street' for an instance of what I'm talking about. Beginning with a country band, jamming away and then swooping into a schmaltzy, full orchestral pop backing, Van Dyke sings about the tape you just heard. I get that it's totally "brilliant man" with all of the "genius" backing and everything, but I just don't hear very many good melodies, honestly. Seems like a case of presentation over actual substance. I've sat with it for a week now and I still don't feel like anything is jumping out at me. And the fact that the album's lone cover (of 'Donovan's Colours') is probably also its highlight should say all it needs to. I don't get it; yet it's still decent, just based on its sound and era of inception. This is my most negative "positive" review ever. Hope you liked it.
~Austin
Friday, April 6, 2012
What's New?: 4.6.2012 Part One
Been a while. Let's get right into it. Part Two (vinyl) is coming soon. . .
Judee Sill — Dreams Come True (1974/late 60's)
The famous "unfinished" third Judee Sill album. The tapes sat for years, thought to be lost, only to be newly mixed and mastered by Jim O'Rourke in 2004 upon rediscovery. The actual eight song proper album is darn fine. Looked at as the next album to follow up Heart Food, it's a stripped back, no-nonsense affair that focuses solely on the songs and leaves the arrangements purposely plain. Considering the big productions that preceded it, it is especially scaled back, so it's hard not to hear as a collection of demos. The lyrics are as ambiguously religious and as laced with quasi-mysticism as ever. "I'm Over" is one of her best songs and definitely the highlight here. The title track, which closes out the album, is one of those killer piano ballads that she just seemed capable of belting out at will. The remaining fourty minutes, besides a few demos from the album, is rounded out by a second disc subtitled "Lost Songs" that consists of home recordings of songs that never showed up on either of her two first albums. The fidelity leaves much to be desired in most cases, but the songs are good enough for anybody wanting more to overlook it. 'Emerald River Dance', for instance, strikes me as one her best songs. Although the stark sparseness of the whole affair and the large amount of tape hiss on the second half supposes a bleak final document of Judee Sill, the "Lost Songs" disc closes out with the gospel flavored piano instrumental 'Oh Boy the Magician' and it's hard for me to think of a better way of ending the account of her last recorded music. The second disc has a twenty minute Quicktime movie of Judee playing solo live in 1973. The quality also does leave me a little disappointed, but in the days of YouTube and instant streaming, I have to take a step back and realize what I'm actually looking at to truly appreciate it. Certainly not the most polished picture of Judee Sill and her music, but as an overall package, I'd be hard pressed to imagine it could be any better than this.
Nick Drake — Time of No Reply (late 60's/early 70's)
I drank the Kool Aid when Made to Love Magic came out. It was presented as an updated, improved version of Time of No Reply. I figured it was a good choice for me, as Time of No Reply was long out of print and demanded rather high prices on the used market at that point. Although, after really digesting this initial outtakes collection, I can honestly say that I was duped. The only real draw on Made to Love Magic is the excellent 1974 home recording 'Tow the Line.' Time of No Reply, most importantly, contains the original mixes of the other four songs from those abandoned 1974 recordings, in addition to five other demos and outtakes from 1968 that Made to Love Magic ignored in favor of altered versions of previously familiar tunes. While Made to Love Magic has its place for the truly devoted Nick Drake fan (i.e. people like me), it's far from being a competent replacement for Time of No Reply. While it still does demand fairly high prices for a used CD, I'd say it's definitely worth it. I'm sorry I waited so long.
Josef K — Entomology (early 80's)
Josef K, being one of the original Post Card label bands and the starting point for guitarist Malcolm Ross (who would go on to play in Orange Juice and then later Aztec Camera, pulling off a Post Card hat trick), has long been of interest to me. Their albums are just not that easy to come by in my neck of the woods. I really don't like compilations as a first taste of a band, but this one was just too easily available and too nice of a package to pass up. Pop it in and the first track is the absolute lost classic 'Radio Drill Time.' The sparse, tinny guitar that doesn't sound so much strummed as it does slashed at, the aloof vocals and the inexplicably danceable backbeat — talk about one hell of a start! Elsewhere, frontman Paul Haig's existential influences are on display on the undeniably Cure-ish 'It's Kinda Funny' (atmospheric and lovely), while the band's signature tune 'Sorry for Laughing' practically epitomizes the new wave era. For the most part, it's all esoteric, isolated lyrics and purposely bad singing, hollow guitar sounds and break neck tempos. The psycho-surf of 'Fun 'n Frenzy' is about as close to traditional punk as the boys get here, while favoring a much jumpier, jubilantly jangly sound in the disc's second half (not too bad, actually). All in all, this thing clocks in at twenty-two tracks and over an hour long, making for a serious good investment for a new wave dork like me. If I ever see any of their other records, they will be purchased without a second thought.
Various — Blue Skied an' Clear: A Morr Music Compilation (2002)
Tribute albums have always been kind of a slippery slope for me. While an electronic-based tribute to Slowdive strikes me as a bad idea right off the bat —and to be exact, I expected to hate it— it's actually kind of fun, in a way. Unfortunately, most of the performers here miss the vocal melodies completely and rely entirely on the atmospherics. Lali Puna's '40 Days' is a beat-heavy, laptop-inspired revision that gets it right, while Ulrich Schnauss' 'Crazy for You' bares enough resemblance to the original to get by on the small nuances of difference. Hermann and Kleine's 'Dagger' is a nice electro-acoustic version that puts a female vocalist in the lead. Two versions a piece for 'Here She Comes' (a disappointing one that builds to an unnecessary climax by B Fleischmann and Ms. John Soda and a decidedly retro instrumental take by Skanfrom) and 'When the Sun Hits' (a boring vocoder electropop version by Solvent and a surprisingly great, mostly acoustic version by Komeit). Isan's synthesizing of 'Celia's Dream' is kind of what I expected going in, while still being a pretty decent rendition. As the song from which the disc takes its name, Manual's 'Blue Skied an' Clear' is a pretty standard run through, but disappointingly ditches the vocals altogether. The closer is 'Machine Gun' by Múm and it's a pretty nice, skeletal and bleak rendition of the tune. Overall, a grab bag, but I didn't expect anything else. There is a second disc that contains all originals by these bands and musicians, but I've honestly only skimmed it, as it was not what I picked this album up for. Maybe one day I'll go back and find something fun.
Leo Kottke — Guitar Music (1981)
An all instrumental, solo guitar album from Leo in the early 80's. There's a lot on display here, from Leo's classic post-bluegrass slide techniques like 'Part Two', to newer ideas like 'Strange', to more meditative pieces like 'Three Walls and Bars' and down to a completely unforeseen (yet totally brilliant) cover with 'All I Have to do is Dream.' Just wonderful to hear a master at play and this album has plenty of that. For such a later album, I am pretty impressed with its consistency with Leo's earlier albums. Really good stuff.
More on the way.
~Austin
The famous "unfinished" third Judee Sill album. The tapes sat for years, thought to be lost, only to be newly mixed and mastered by Jim O'Rourke in 2004 upon rediscovery. The actual eight song proper album is darn fine. Looked at as the next album to follow up Heart Food, it's a stripped back, no-nonsense affair that focuses solely on the songs and leaves the arrangements purposely plain. Considering the big productions that preceded it, it is especially scaled back, so it's hard not to hear as a collection of demos. The lyrics are as ambiguously religious and as laced with quasi-mysticism as ever. "I'm Over" is one of her best songs and definitely the highlight here. The title track, which closes out the album, is one of those killer piano ballads that she just seemed capable of belting out at will. The remaining fourty minutes, besides a few demos from the album, is rounded out by a second disc subtitled "Lost Songs" that consists of home recordings of songs that never showed up on either of her two first albums. The fidelity leaves much to be desired in most cases, but the songs are good enough for anybody wanting more to overlook it. 'Emerald River Dance', for instance, strikes me as one her best songs. Although the stark sparseness of the whole affair and the large amount of tape hiss on the second half supposes a bleak final document of Judee Sill, the "Lost Songs" disc closes out with the gospel flavored piano instrumental 'Oh Boy the Magician' and it's hard for me to think of a better way of ending the account of her last recorded music. The second disc has a twenty minute Quicktime movie of Judee playing solo live in 1973. The quality also does leave me a little disappointed, but in the days of YouTube and instant streaming, I have to take a step back and realize what I'm actually looking at to truly appreciate it. Certainly not the most polished picture of Judee Sill and her music, but as an overall package, I'd be hard pressed to imagine it could be any better than this.
Nick Drake — Time of No Reply (late 60's/early 70's)
I drank the Kool Aid when Made to Love Magic came out. It was presented as an updated, improved version of Time of No Reply. I figured it was a good choice for me, as Time of No Reply was long out of print and demanded rather high prices on the used market at that point. Although, after really digesting this initial outtakes collection, I can honestly say that I was duped. The only real draw on Made to Love Magic is the excellent 1974 home recording 'Tow the Line.' Time of No Reply, most importantly, contains the original mixes of the other four songs from those abandoned 1974 recordings, in addition to five other demos and outtakes from 1968 that Made to Love Magic ignored in favor of altered versions of previously familiar tunes. While Made to Love Magic has its place for the truly devoted Nick Drake fan (i.e. people like me), it's far from being a competent replacement for Time of No Reply. While it still does demand fairly high prices for a used CD, I'd say it's definitely worth it. I'm sorry I waited so long.
Josef K — Entomology (early 80's)
Josef K, being one of the original Post Card label bands and the starting point for guitarist Malcolm Ross (who would go on to play in Orange Juice and then later Aztec Camera, pulling off a Post Card hat trick), has long been of interest to me. Their albums are just not that easy to come by in my neck of the woods. I really don't like compilations as a first taste of a band, but this one was just too easily available and too nice of a package to pass up. Pop it in and the first track is the absolute lost classic 'Radio Drill Time.' The sparse, tinny guitar that doesn't sound so much strummed as it does slashed at, the aloof vocals and the inexplicably danceable backbeat — talk about one hell of a start! Elsewhere, frontman Paul Haig's existential influences are on display on the undeniably Cure-ish 'It's Kinda Funny' (atmospheric and lovely), while the band's signature tune 'Sorry for Laughing' practically epitomizes the new wave era. For the most part, it's all esoteric, isolated lyrics and purposely bad singing, hollow guitar sounds and break neck tempos. The psycho-surf of 'Fun 'n Frenzy' is about as close to traditional punk as the boys get here, while favoring a much jumpier, jubilantly jangly sound in the disc's second half (not too bad, actually). All in all, this thing clocks in at twenty-two tracks and over an hour long, making for a serious good investment for a new wave dork like me. If I ever see any of their other records, they will be purchased without a second thought.
Various — Blue Skied an' Clear: A Morr Music Compilation (2002)
Tribute albums have always been kind of a slippery slope for me. While an electronic-based tribute to Slowdive strikes me as a bad idea right off the bat —and to be exact, I expected to hate it— it's actually kind of fun, in a way. Unfortunately, most of the performers here miss the vocal melodies completely and rely entirely on the atmospherics. Lali Puna's '40 Days' is a beat-heavy, laptop-inspired revision that gets it right, while Ulrich Schnauss' 'Crazy for You' bares enough resemblance to the original to get by on the small nuances of difference. Hermann and Kleine's 'Dagger' is a nice electro-acoustic version that puts a female vocalist in the lead. Two versions a piece for 'Here She Comes' (a disappointing one that builds to an unnecessary climax by B Fleischmann and Ms. John Soda and a decidedly retro instrumental take by Skanfrom) and 'When the Sun Hits' (a boring vocoder electropop version by Solvent and a surprisingly great, mostly acoustic version by Komeit). Isan's synthesizing of 'Celia's Dream' is kind of what I expected going in, while still being a pretty decent rendition. As the song from which the disc takes its name, Manual's 'Blue Skied an' Clear' is a pretty standard run through, but disappointingly ditches the vocals altogether. The closer is 'Machine Gun' by Múm and it's a pretty nice, skeletal and bleak rendition of the tune. Overall, a grab bag, but I didn't expect anything else. There is a second disc that contains all originals by these bands and musicians, but I've honestly only skimmed it, as it was not what I picked this album up for. Maybe one day I'll go back and find something fun.
Leo Kottke — Guitar Music (1981)
An all instrumental, solo guitar album from Leo in the early 80's. There's a lot on display here, from Leo's classic post-bluegrass slide techniques like 'Part Two', to newer ideas like 'Strange', to more meditative pieces like 'Three Walls and Bars' and down to a completely unforeseen (yet totally brilliant) cover with 'All I Have to do is Dream.' Just wonderful to hear a master at play and this album has plenty of that. For such a later album, I am pretty impressed with its consistency with Leo's earlier albums. Really good stuff.
More on the way.
~Austin
Sunday, March 25, 2012
Show Review: Poor Moon 23 March 2012 b/w Illusions EP
This past Friday, I made the trip over to San Francisco to see Poor Moon at Bottom of the Hill. All evidence points to me being a huge Fleet Foxes fan, so I was right on top of things when it was announced that the band's bassist Christian Wargo was now fronting another band with fellow Foxes' multi-instrumentalist Casey Wescott along with friends (and brothers) Peter and Ian Murray. And when these guys released an absolutely great free digital single several weeks ago, I knew that I had to see them when tour dates were announced. For a couple days two or so weeks ago, they offered the entire Illusion EP for free download (I guess they didn't want to go out on the road with no material officially released yet), so that was well familiar by the time they took the stage.
But we're getting ahead of ourselves.
The Illusion EP will undoubtedly draw comparisons to Fleet Foxes. Five folk-pop songs, book ended by two sparse acoustic numbers (the title track and the redemptive 'Widow'), Josh Tillman contributions, with many deep harmonies and plenty of reverb on the vocals in between. Yeah, there's definitely some like-mindedness going on in the Foxes' camp. Except for that one song right in the middle of everything. 'People in Her Mind' is just a wonderfully bouncy little slice of layered, catchy-as-all-hell, 60's inspired pop. To say that it sticks out on an EP that could otherwise be described as moody and eerie is an understatement. You just have to marvel at how complete and cohesive things are for a sixteen minute EP. It's always nice when a band can put out such a perfect synthesis of what they do in the EP format. There is a clear beginning, middle and end to the whole thing and I was going in to the show well-versed in its contents. Except, I would be thrown a curve ball (not one that I wasn't prepared to take a mighty swing at, mind you; I just didn't see it coming).
We're getting ahead of ourselves again.
Going to shows in San Francisco means getting a good meal beforehand. It just does. The choices are endless. Japan town is my pick for the concentration of good places all within walking distance of each other. You can compare menus and prices in real time, on the spot. The search for the right place is almost a show within itself. Found a place in the mall (and it was delicious):
Time to kill after that, so off to the west bay it was:
After some thought, I realized it had been years since I had actually seen the Pacific Ocean (despite being close). About a quarter mile straight downhill:
But we're getting ahead of ourselves.
We're getting ahead of ourselves again.
Going to shows in San Francisco means getting a good meal beforehand. It just does. The choices are endless. Japan town is my pick for the concentration of good places all within walking distance of each other. You can compare menus and prices in real time, on the spot. The search for the right place is almost a show within itself. Found a place in the mall (and it was delicious):
Time to kill after that, so off to the west bay it was:
After some thought, I realized it had been years since I had actually seen the Pacific Ocean (despite being close). About a quarter mile straight downhill:
And then it was time to do silly things that I did when I was a kid, like draw designs in the sand with your feet and taunt the incoming waves:
Enough silliness, back across the city to the venue:
It's always fun to see shows at Bottom of the Hill. It's a small enough venue that you can probably catch somebody from the band at the merch table or wandering about and shoot the breeze for a bit. I did catch Christian, pre-set, at the merch table and he seemed pretty road-weary, but receptive to conversation. I said my thank yous and let him know that his last visit to the Bay Area with Fleet Foxes was appreciated and that I was grateful for the good work he was doing.
When Poor Moon finally took the stage about an hour later, they made the thing look smaller than it actually is. With six guys and tons of gear, there was hardly room for anybody to move. But you'd never know that from the absolutely perfect performance they put forth. The only song that was played off of Illusion was 'People in Her Mind', late in the set — which was rendered in a slightly rocked up, less polished way that just seemed to bowl everyone in the place over. I mean, after an eight or nine song set of unknown tunes, no stage banter, no titles announced and in such contrastingly exquisite form to the previous band, I don't like the lukewarm audience reaction they received, but I can at least understand it. I have no titles to go off of here, but the first tune they played was such a grand shift in mood in the place that I dare say it silenced the crowd briefly. The one I have given the stopgap title of 'The Tambourine Song' was smack dab in the middle of the set, and appropriately so, as it was the highlight for me. A mid-tempo, percussion-oriented thing; I can't wait to hear it again. Another one that I will call 'The Rocker' for now found Christian pounding away at his Rickenbacker in between brilliant vocal melodies and pieces of dead silent pauses for a downright stunning display of stop/start/loud/quiet shifts. 'People in Her Mind' got the biggest audience reaction and, I have to say, even though I never would've guessed it from being familiar with the EP, it was the most representative song that I knew going in. The rest of the band's set was much in line with that sprightly little number. Very 60's pop inspired material, very tightly arranged and played and all very heartfelt. Although Illusion gave me a completely different picture of the band than what I was presented with on Friday night, I have to say that, if this band is going to go further (as it seems to be, with a full length rumored to be on the way later this year), they have tons of potential. The songs were presented purely professionally, but there was no doubt there was an amount of silliness going on (I saw band members sticking their tongues out at each other between pitch perfect group harmonies!) and, despite all the between song instrument juggling and just an in-general rush that was in the air, I can't imagine these guys putting out a better "first taste" live showing. Christian was excellent vocally (who knew!) and overall, I felt like the trip was totally worth that fourty five or fifty minutes of completely unfamiliar music.
Photos:
I hope that full length is not just a rumor and I hope to see them again soon.
I was so pumped after seeing them that I walked out of the place and was able to stay awake for the four hour drive back to Reno.
Yeah, they were that good.
This video features the band playing some of those tunes that didn't show up on Illusion (and one that was not played at Bottom of the Hill).
~Austin
Tuesday, March 13, 2012
Andrew Bird — Break it Yourself
I saw him open for Kristin Hersh, years ago, playing all alone. Quite frankly, he blew me away. He played first (before Howe Gelb, even!) and I still was aware that, while he was up there, looping pizzicati, flaying around, generally like a madman, that I was witnessing something unique. It's taken a while, but by the time Noble Beast was released I was a fan.
This time, I'm just more in tune to him than ever before. He's tuned into acoustic music that seems to be reminiscent of my favorites, but also in a way that doesn't seem repetitious, either. In fact, the one minute introduction to the first track 'Desperation Breeds' does more than any one moment I can think of to illustrate just how subtly unique Andrew Bird has become. That this is essentially just an intro vamp consisting of his looped and treated pizzicati, but somehow melds seamlessly into an acoustic arpeggio of the tune proper — and this, in turn, morphs into a colorful sunrise of whistling and pizzicato brilliance— is just a shining example. To sit through it with an attentive ear is to know sheer rewards as a music fan.
The changes —so subtle, so nuanced— are there. Yes, I get that he records his music on an isolated farm (as has been pointed out in a billion reviews), but I hear music that would sound that way regardless of where it was recorded. This is warm, rootsy, brilliantly "orange"-sounding music.
My point here is this: I don't recall Andrew Bird ever sounding as downright human as he does for the first run of the absolutely engaging five or six proper songs on this album. He's shown hints of this sort of strength in the past, but it's never gelled as well as it does here.
Even on the pre-album teaser (the album's title track and clearly the one aimed at the radio) 'Eyeoneye', it's clear that this album just possesses an earnest polish and perfection that seems to say, "Hey, I think this one's pretty good — what d'you think?"
It claims a unique humble quality of realization of the world around it. As if Andrew is saying to everyone, "Hey, what about that tree over there?" Except, he just has a way of asking such a question that, when that particular tree is actually looked at, you see a wonderful, rainbow-filled skeleton of glowing, ramshackle beauty.
Allusions to "mistaking clouds as mountains" on 'Danse Caribe' atop easily one of his best melodies just seals the deal for me. That song kicks butts and takes names. Listen to his violin playing! Don't care — it's one of his best songs; no discussion needed. 'Near Death Experience Experience' recalls Armchair Apocrypha, floating in hillbilly space, while a tune like 'Hole in the Ocean Floor' actually sounds like shoegaze gone acoustic.
I was lucky enough, by the graces of a very dear and special person, to receive the limited edition of this album. Artsy fartsy inclusions, heavy vinyl, gorgeous packaging and all — wonderful for a dork like me.
(probably can't see it there, but I got #606)
I can't say enough good about this album or Andrew Bird in general these days. If he manages to improve (yet) again, I will be pleased. But, as it stands, this may just be his most complete album to date.
~Austin
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