What's New?: 7.3.2013

Continuing on. . . and on. . . and on. . .

The Appleseed Cast — Illumination Ritual (2013)

It's a strange time to be an Appleseed Cast fan. Their dreamy cascades of cymbals and guitars is still present on their first album in four years, but the only original member left is singer and creative center Chris Crisci. Aaron Pillar and John Momberg's respective farewells are now relegated to the stopgap Middle States EP from two years ago. And while Aaron's inimitable guitar style is definitely missed on Illumination Ritual (things definitely take a turn in a more angular direction), this album still manages to sound like the Appleseed Cast. Except, they're really fast now. There is a very much an upswing in tempos this time around and that's a catch twenty-two, because while the songs definitely have riffs and hooks that are great, it almost feels like the whole album is just one long song, because the tempos don't vary much. Still, it sounds an awful lot like Mare Vitalis, and that's fantastic because that's not only an album I love, it's also the one where I feel like they were doing great pop songs when you stripped away all the effects and noise. So, here: 'Cathedral Rings.' It's an emotionally charged, dynamic, anthemic, fist-pumping, rock-and-fucken-rolling masterpiece. Probably their best all around song since the Peregrine days, at very least. Side two of the album contains a very epic Low Level Owl-esque two-fer that was probably intended to be the big centerpiece of the album with 'Barrier Islands (Do We Remain?)' morphing into 'North Star Ordination.' It's definitely a highlight, in a classic-sounding Appleseed sort of way. Throw in a couple instrumentals, and we're done. Overall, it's Chris delivering a by-the-numbers Appleseed Cast record and trying to give us (the fans) what he thinks we want. Little does he know, I will like whatever he does as long as he's leading with his heart and not trying to rehash past glories. I'm extra critical of this stuff because they are one of the best things currently going. And besides, as the proper full length follow up to Sagarmatha, it was going to be hard to top that one. I just wish Aaron's departure from the band wasn't so glossed over.

Bob Dylan — Dylan (1970)

Generally regarded as Bob's "worst" album, it's also generally accepted that he was trying to piss off fans when he recorded it. It was mostly recorded during the same sessions for Self Potrait and, just like that album has an unmerited bad reputation, after fully digesting this one, I have to say it falls into the same category (some of the album consists of outtakes from the unimpeachable classic New Morning). There are no originals here, but the things Bob does with tunes like 'Mr. Bojangles' and 'Big Yellow Taxi' are fascinating and ultimately they feel less like someone making fun of them and more like someone just screwing around. There's a very nice folk pop sheen to the production and I have a really hard time not playing the whole album whenever I listen to it. Certainly not his best work, but this is just an alright album, where he would commit near atrocities in the future.

Atoms for Peace — Default (2013)

B-side action from one of the year's most pleasant surprises. The a-side was definitely a grower for me and it appears here in an instrumental version alongside the non-album doodle of a song 'What the Eyeballs Did.' It's one of the AfP songs where Flea's bass playing is front and center and it's all the better for it. Nice to hear more from these guys.

Cocteau Twins — Otherness (1995)

I've had this guy digitally for many years, but it's always nice to find hard copies of these sorts of things. It's essentially a remix EP wherein Robin and Liz try to make some older songs kind of ambient dancey. Not a total success, but not a waste of time either. The highlight is the super blissed out, very nearly psychedelic, drumless retake of 'Cherry Coloured Funk.' Well done on that one, you lot.

Morrissey — The HMV/Parlophone Singles '88-'95 (late 80's/early 90's)

A lot of this was not new to me. In fact, about 90% of it wasn't. But, for a few of these b-sides (and even a couple of the a-sides), they appeared on the British singles and nothing else. So, they were out of print for many years until these things came out.  But forget it: those were too expensive and way too bulky for me.  This guy squeezed out a few years ago under my radar and it's those two sets slimmed down to three CDs: the perfect package.  Way too many Moz classics (and just plain old musical classics) to start naming names, so I'll just run down the list of things I liked that I didn't already know.  'Journalists Who Lie' is about as awesome as it can get when you look at the title and then consider that the song could be described as "cartoon rockabilly."  'Pregnant for the Last Time' is more fake rockabilly fun, while tunes like 'You've Had Her' and 'I'd Love To' are the sort of cascading introspective mini-epics that find Steve dropping the rockstar façade and singing these full on heartachingly genuine masterpieces.  I guess I understand why he's hidden them away and basically assigned them to obscurity status in his own catalogue.  I mean I do but I don't.  The frustration of being a Morrissey fan.  Top tunes, whatever the case.

Morrissey — Beethoven Was Deaf (1993)

Morrissey's best band rocking out for a bunch of Frenchies. There's a sense to this live album that it was meant to be a big grand assertion of dominance —and, in retrospect, it most certainly is— but, at the time it was virtually ignored in the shadow of the near smear campaign being launched at Steve in the British music press (not to mention: this album has still never been released in America). Oh well, by the wayside went definitive versions of essential Moz classics (the rockabilly-ed up 'Sister I'm A Poet', the flawlessly rambunctious run through of 'The Loop' and the version of 'Jack the Ripper' that's so good it makes the studio version seem like a sick joke).  Of course, all of the then-Moz calling cards are present as well, but it's the diversity and the tension in the setlist that really makes this one a complete and total classic.  It's an album that I've known for several years, but it feels like such a relief to finally have a hard copy of my own.  Where in later years, Morrissey released live things for fan benefit only, this one actually feels like it belongs in the strange saga of Morrissey's creative trajectory.  And, of course, it doesn't hurt that they play a totally kickass version of my favorite Morrissey song.

Q and Not U — Different Damage (2002)

Totally great DC indie guys.  Noisy and political and shouty and spastic and inexplicably funky — it's only now, a decade later, that I can really understand that they were one of the first of the new wave revival that hit hard in the early 2000's.  This was the band's second album (and a lot of folks would say their best) and it's just a wonderfully angry and varied record.  The first track is probably the highlight, but side two of the album plays less like a group of songs and more like a sidelong suite whose whole is greater than the sum of its parts.  It's definitely an album that sounds best when you take the whole thing in at once.  It's too bad they quit after their poppier follow up album; truly a band that had something different to say.

R.E.M. — Strange Currencies (1995)

This Monster single had absolutely no chance at the charts, but it still managed to crack the top 40.  It's definitely one of the more conventional R.E.M. moments on that album.  But the real reason this single was released was so the band could get some live recordings for the one-off show they did in support of Automatic for the People out there (it's a now nearly forgotten piece of trivia that the band did not tour in support of their most famous album).  There's a super juicy rockin' version of 'Drive', a silly Iggy Pop cover  (where Michael inexplicably declares after the final chorus, "Dracula was pretty good, but it wasn't quite as gory and violent as they said it would be") and that finally morphs into a seriously rocked up 'Radio Free Europe.'  Well worth hearing, even if only for historical purposes (the music just so happens to be great as well).  Would love to see the entire show released.

Heat waves suck.

~Austin

The Appleseed Cast — Middle States EP

Well, I guess I should air out my bias before we even get going here: it should be no secret that the Appleseed Cast is one of my favorite bands by this point. Let's just get this out of the way right now: a four star review for them is like a twenty eight star review for review for anyone else. So yeah, they're at least seven times better than your favorite band.

With the first three tracks on this thing, they perfectly recapture the endless song cycle mood of Low Level Owl.

Simultaneously, they have combined the catchy, riffy aspect of Peregrine.

So, basically, they have successfully figured out a way to perfect their craft.

'End Frigate Constellation' sounded like a puzzle the first time I heard it when they played it live, but I clearly remember the "Waiting for the night" lyric and thinking to myself, "That's where the song will come together on record."

And, sure enough, there it is.

Followed by a full-on assault of warm distortion. Awesome.

The 'Interlude' ties it together with the EP's title track and I can't even say right now what I really think of that song. When they played it live (and when I heard it for the first time), I got goosebumps. A downright jangly foundation and truly relevant observation on "Growing older" combine atop a decidedly 'new' approach to an Appleseed Cast song and I'm sold. After numerous listens through the EP, I'm convinced it's one of the best things they've ever done. It's an incredible song; we'll just leave it at that.

The last track, 'Three Rivers', is a fifteen minute instrumental epic that is surprisingly devoid of any real buildup. Instead, it's way more Krautrock in its philosophy as it feels more like a restrained jam than an actual composition. Still, these guys could just jam for three hours and it would probably be, at the very least, an interesting curiosity of a recording. If releasing tapes of jam sessions is what it takes for them to finally become prolific, then so be it. My least favorite of the new material, but still worth hearing every time.

I like 'Three Rivers', but there's a reason the proper songs are up front. Those two songs on their own would've made for a seriously tantalizing seven inch single. But leave it up to these guys to bridge the songs with a super heady (yet still, completely valid) between song noise bit and an extended noodle of a song and make the whole package sound cohesive and like a piece unto itself. Even a barely thirty minute EP becomes an engaging, rewarding listen every single time with this band.

If nothing else, this officially has my expectations for their next album in the exosphere — as if said expectations weren't high enough already. Just hearing that their new material actually has the potential to be better than what preceded it —with the exception of the title track, which is already there— is confirmation enough that they are, without question, one of the best bands in the world.

Heroically good.

Right fucking on.

~Austin

Show Review: Appleseed Cast 27 March 2011 (with a short general commentary on "the scene")

Yes, the Appleseed Cast finally made their way back to Reno last night and before I get into the specifics of the evening, I have to just say a GIGANTIC thank you to the band for even humoring the idea of playing in Reno after the debacle four years ago that ended with them playing a despite-the-cards-stacked-against-them-still-great barely fourty minute set (and this, of course, was no fault of theirs in the first place; but all of this is another story entirely — we'll get to it partially below).

There was a delayed start —10pm, as opposed to the posted time of 8pm— and with three openers, I knew we were in for a long night (indeed, I asked Dave what time it was when we walked out of the place at the end of the night and he said two-twenty-something — sheesh).

First up was local band Fa Fa Fa. Kind of fun and jangly, in a two clean-toned guitars (a la Television) sort of way. Tight, jerky rhythms and fun pseudo-harmony vocals. Competent, sure. My thing overall? No, not really. But they were good just as a listening in the background sort of thing.

Next was Seas and Centuries who I knew of because of Dave's championing of lead singer Alex's previous projects (none of which I was really that into, honestly). After hearing a song or two at Dave's insistence, I was actually excited to see them opening for Appleseed Cast. And they did not disappoint. Very tight, very enjoyably concise set. The highlight of their brief set was definitely 'Until December' — which is like War-era U2 meets 'Ceremony' by New Order. The band was giving away business cards at the show which had the URL for a free download of their initial three song EP. Upon getting home and properly digesting the material (all three songs they played last night), I have to say that it's definitely worth everyone's time. They were professional and respectful of the circumstances and, despite Alex's humility, I thought they sounded completely ace. I don't think I've ever been more excited about a homegrown act.

The national touring act that was along for the ride with Appleseed Cast was Muscle Worship. And I didn't get it, just flat out. I appreciated their obvious passion during the performance, but maybe it was the sound mix and the lead guitar being obtrusively loud. Things just didn't gel and all of their songs starting sounding the same after a while. Still, I definitely appreciate bands coming through town like that and I made sure I told all the guys in the band as much afterwords.

Appleseed Cast came on sometime after midnight and it seemed like they were obviously a little miffed at the late start time. In fact, (drummer) John (Momberg) set up his kit so that he was playing with his back to the (unfortunately dwindling) audience. (bassist) Nate (Whitman) joined him for the majority of the set and (second guitarist) Aaron (Pillar), because of the size of the stage, had to set up his gear so that it was impossible for him to play his parts and face the audience.

It was not a good sign. It was going to be the repeat of the barely fourty-minute set from four years ago, I feared.

But they launched into 'Ceremony' from Peregrine with a cool ease and I noticed right away that they were a lot more animated than the circumstances would have expected them to be — arguably, they were even fidgety.

I was excited to hear Sagarmatha material, plain and simple, because I missed that tour. They did not disappoint, as they played three songs from that album ('As the Little Things Go', 'South Col' and 'Raise the Sails'). 'As the Little Things Go' was especially great as the proper set ender and it was just amazing to hear the band translate that six minute buildup so well in a live context. Where it sounded laboured-over and nearly aloof (in a good way) on the record, it came across as a piece of urgent, pure wall of sound in concert. It was the one I hoped they would play from Sagarmatha and it did not disappoint.

Other selections included (not in order):
'Here We Are' from Peregrine (unsurprisingly rendered in a very noisy fashion)
'Hanging Marionette' from Two Conversations (actually, this was one of the highlights of the set)
'Fishing the Sky' from Mare Vitalis (a genuine shock to hear them play it and even more of a shocker how well it fit in with the newer material — I would love to hear them play more material off this album, especially if they're going to do it such justice)
'On Reflection' and 'Rooms and Gardens' from Low Level Owl (have heard them play 'On Reflection' every time I've seen them and it still remains my favorite song of theirs; they could play it at every single gig they ever do and it will never get old. 'Rooms and Gardens' was the only encore song and the show closer and it was all awesome, noisy chaos — just like how they played it on the LLO anniversary tour last year)

But, most importantly, I knew they were almost certainly going to air out some new material at this show. And they played the title track from their upcoming EP 'Middle States' and one other new one whose title I can't recall right now (help me out DaveLIFE SAVER, you setlist thief). 'Middle States' (the song) was everything I hoped for. I will spare you the obtuse pseudo-recollections of hearing a brand new song, once, as it was being played live, but I just remember thinking while they were playing it that it sounded like the perfect synthesis of the shoegazey-ness of Sagarmatha mixed with the riffy-ness of Peregrine. And noisy. God, I had goosebumps. I can't wait to hear it again.

The other song struck me as a bit more of a tough turkey. I don't remember much about it, except that its riffs were less showering and more angular (going back on old tricks minus the screaming, perhaps?). It was very mazelike, and puzzle-ish from what I recall. I liked it, it just wasn't as immediately grabbing as 'Middle States.'

And then, there they were, packing up their gear, just another stop on the road for them. There was nothing even close to a packed (or even semi-full) house. They did abridge the set, as DaveLIFE SAVER and I later found out ([lead singer and guitarist] Chris [Crisci] was kind enough to donate his only setlist to us dorksTHE SOUNDS OF SUNDAY) — they omitted about four songs (one of which was another new one we consequently missed out on), probably because of time issues and (as we also found out) Aaron was up there the whole time under the weather, playing with very flu-like symptoms.

And yet, Chris bowed when I thanked him for coming back to Reno. Aaron was downright chatty (amongst a flurry of deep coughing) and he even remembered DaveLIFE SAVER and I from last year's show in San Francisco. I thanked Nate and John as well and they seemed grateful that there was at least a few people in the small crowd that were there to watch and listen and appreciate.

Which brings us to the next issue —and I must apologize in advance for being kind of a sourpuss— but Reno kind of sucks.

How is it even possible for a band like Appleseed Cast to come through town and have barely fifty kids even notice that one of the best bands in the world is playing for them, just feet away from where they're smoking their cigarettes, drinking their PBR and trying to talk to each other over the band?

Was I actually approached by someone representing the vile Holland ProjectMORAL SLUMLORDS? (google it for yourself; fuck links — this is the same "organization" that screwed Appleseed Cast into an abridged set four years ago)

Did this personPAWN actually hand out flyers, advertising for another show and tell me it was going to be 'the best show of the year' in which a band that sounds like 'Bright Eyes if he screamed meets Bruce Springsteen' would be playing said best show? (sidebar: you just ignored Reno's best show of the year when you disrespected Appleseed Cast last night, kiddo)

Why were there more girls taking pictures of each other on their phones down front than there were, you know, people who actually cared?

What exactly is going on?

Well, my friend, Reno kind of sucks sometimes.

I apologized to Aaron for the lack of respect in the audience —and the general lack of audience at all— and all he could do was thank me in return for my previous kind words.

At that point, I realized, as much as I love having one of the best bands in the world playing at my doorstep, we don't really deserve it. The guys in the band are too humble for their own good. They deserve stadiums full of attentive, respectful listeners.

Instead, they get their set start times pushed back to unrealistic hours and dwindling audiences who are more interested in the PBR drink specials and holding their cigarettes in a fashionable pose.

Judging from the band's only Tweet mentioning anything to do with the stop in Reno (and, alternately: their numerous Tweets from SF, capped by this one), they were grateful for the lucky odds at the slots and tables, not for the mostly unappreciated (yet still incredibly good) set they had just played.

Here's to hoping they come back.

Not that I blame them if they won't.

~Austin

PS — Totally scored Peregrine on vinyl at the merch stand. Right on.

Show Review: Appleseed Cast: 6 March 2010

When it was announced that the Appleseed Cast —one of my favorite bands— would be touring and playing their two volume Low Level Owl album —my favorite of theirs— in its entirety live, I sought out a date, secured a group of friends to make the trip to San Francisco with me and looked forward to the gig for anticipating months.

Well, last night was the night.

THE SOUNDS OF SUNDAY FEATURING ROB (a worthy group of gents) and myself drove down to SF, did some record shopping, had a fantastic meal in Japan town and then were off to the warehouse district to Bottom of the Hill.

The opener was Dreamend. I had never heard of them before, but they were good; in a 'hey, this opening band sounds like a competent imitation of the headliner' sort of way. A satisfying thirty five minute set breezed by like nothing and I was appreciative of their humbleness and apparent focus. One of those rare opening bands that doesn't blow you away, but at the same time, is good enough to make you remember their name.

The time between when Dreamend exited the stage and Appleseed sauntered onstage was probably only about fifteen minutes, but it felt like an eternity. For me, the tension in the place was extreme.

When Chris stepped on stage, I thought it was finally here. Dave tapped me on the shoulder, pointed at the stage and just said, "Dude!"

But it was the ultimate move in suspense, as he silently tuned his guitar, strummed out a chord and then exited the stage again.

Damn this infernal buildup!

After it was all said and done, the band nonchalantly (and, admittedly, a bit anticlimactically) ventured onstage around 11pm one by one and then, before I knew it, 'The Waking of Pertelotte' was happening before a "Good evening" or even a modest "Hi" had even had the chance to take place.

That familiar riff, the unmistakable drum buildup.

'On Reflection'!!!!!!

And off they went!

No, this was not: play a song, wait for applause, say a humble "Thank you" and then on to the next song.

No.

This was: play the album song for song, every small nuance and crevice to be unforgotten. Pretty sure a lot of this stuff was being played live for the first time since its studio inception, roughly ten years ago. Stuff like 'Messenger' and 'A Tree For Trials' —which may have seemed like negligible between song bits in the bigger picture on record— were represented as distinct, completely performed pieces; showing that, yes, everything on the original album was indeed quite intentional and relevant.

That initial run of tunes on volume one was flawless. 'On Reflection,' after a mostly instrumental run-through that echoed their expedited run through of the tune in Reno a few years ago blasted into 'Blind Man's Arrow' as efficiently as I could've hoped for, while the three song instrumental build up to 'Steps and Numbers' was nearly better than on the record. 'Steps and Numbers' itself was just as good and as epic as I remember it was when they played it on the Peregrine tour in Reno — except, this time, it continued into 'Sentence' like a literal (for me anyway) dream come true. Chris wailed away, "Do you feel the light is gone? Is it hard to remain strong; in the face of all you know?" and I subtly, uncontrollably mouthed along with his words in a state of pure head-bopping acquiescence to the music. Truly, the song is modern day classic. The masses just need to catch up. I felt that way last time I saw them play it live, but this infinitely more intimate presentation of the tune just solidified it for me.

The rest of volume one is a blur. I don't even recall stage mannerisms. Who cares, anyway? They were up there and they were playing it. Not until the bassline for 'View of Burning City' was presented did it hit me: they were really up there.

They were really playing what I believe to be a monument in modern music to roughly 250 people in a cramped bar, just hundreds of yards away from the Pacific Ocean. Like it mattered. For those roughly ninety or one hundred minutes, this music fucking mattered like nothing else before or after it. I am not a religious person by any stretch, but jesus christ, did it feel fucking relevant. It was jubilant gloom, in a way. I was happy to be there, slowly vibing to intensely introspective music that borders on self-indulgence and wanting nothing more than to just have the band never ever stop playing it.

They successfully presented a suspenseful and perfectly truncated two part version of 'View of a Burning City' separated by a brief five minute set break. I mean, when they came back on and literally picked up where they left off, it was like they never left.

Volume two, like on record, was a much more subdued and, if I may say, spiritual affair. "Shaking Hands" was a song I was looking forward to in anticipation of the show and, despite its modest presentation, I was quite pleased with the arrangement the band put forth. "Rooms and Gardens" felt like a finale, honestly. With its noisy penultimate movement, it was the closest thing I've seen to Sonic Youth on a stage since I saw Sonic Youth on a stage. As the rest of volume two is mostly instrumental, it was a time for the band to really work the dynamics on songs like 'Sunset Drama King' and 'The Argument.' And work it, they did. If the current lineup of the Appleseed Cast is not the most charismatic in terms of stage presence, they at least have a grasp on the full on wall of sound they are presenting to their audience. Indeed, there were points during these instrumentals that the only person in the band facing the audience was the drummer. No fault to the band, however, as the were all occupied twiddling knobs and making sure theirs was an organized noise. And speaking of volumes, the show was exceedingly loud — to the point that my ears, even at the point of typing this, are, quite literally, still ringing.

I was curious as to how the band would present Low Level Owl's final track 'Confession' in a live setting, but the way it was done was far noisier and much more of a free form, liberating rock and roll clamor than I had expected. A distorted keyboard outro from Aaron and they were off stage. Much applause and crowd noise and they were just as quickly back on stage to play an unlikely cover of the Van Pelt as an encore.

And then they were done.

It was roughly one hundred or so minutes of stage time, but I was not ready for it to end. However, like all good showmen, they left the audience (or me, at least) wanting more in the best possible way. The four hour drive, the maneuvering of San Francisco's labyrinthine corridors being passed off as streets, the returning home amidst freezing 5am Reno temperatures; it all seemed more than worth it.

Regrettably, I forgot my camera. After the show however, we stuck around and were able to get some chat time in with the band. Dave and I learned, amongst other things, that they are at least six songs into a new record, would love to play Reno again and, most of all, they are regenerated by playing some of the Low Level Owl material for the first time in years (or the first time ever); to quote Aaron, "By showing ourselves that we can play some of this material live, we feel like we can do anything." And though, even the drummer and bassist are not the members who played on the record, I feel like this lineup more than did the material justice and presented the album in a unique way that, even for someone who has studied the studio renditions over and over again, found much to consider and get excited about in the current lineup's performance of the material.

Of course, chatting with the band afterwords does have its benefits...


(Sorry to the keyboardist {presumably a member of Dreamend, first and foremost} who played with Appleseed for the duration of their set; I would've loved to have you sign as well, but you were nowhere to be found.)

Overall, I could not have asked for more. As if I did not hold Low Level Owl in high enough esteem already, the band presented it to me in a form that was expected, but no less exciting. It's a little weird, and plenty rewarding, to know exactly what the band is going to play next, and yet, still be surprised by the presentation.

Truly, the music, as played last night, felt as relevant and as poignant as ever.

I feel privileged to have been there.

~Austin

Yet another change. Great.

Yeah, I just don't know what I want to do, honestly.

I love and listen to a lot of new things constantly. But, I find that I really don't have much else to say about it besides 'I like this' or 'I don't like this.'

Not that the music is shallow and lacking in substance — on the contrary.

For example, I can go on at great lengths about that new Appleseed Cast album, Sagarmatha. I think it's absolutely incredible and have listened to it pretty much daily since it came out (on my birthday — what a present!) and the music has opened up to me in several different ways and revealed many perspectives and layers. It's a deep, thought-provoking album that is also just great music. There are so many things that can be assessed and dissected about it and talked about indefinitely.

But, when it comes down to it, it's just a fantastic new album by one of my favorite bands. I feel like anything more posted on a blog like this is just asking any potential readers to just leave right now. So, why babble?

So, basically, I've decided all I really want to go on at great lengths about on a regular basis is the music of the man whose music has spoken to and touched like no one else's has for the better part of my existence on this planet.

I'm talking about David Axelrod.

I've been listening to his records and records with his name on them for most of my life and have never grown tired of any of it. I still like to talk about all of it. A lot.

So, I have decided I am going to be making this blog mostly about Axelrod and his body of work. I will start the revamp off with an in-depth look at his solo material. Then I will move on to affiliations and thoughts about specific things that relate to him.

Expect an in-depth Song Of Innocence write-up in the next few days.

In the meantime, check out my recently revamped Axelrod post I put up earlier this year from January's archive.

The archives will stay here. And if something unrelated to Axe moves me enough to share some thoughts, I certainly will.

Stay tuned. It's about to get interesting. I promise.

~Austin