My Lonesome River Songs

New Blog - WGWB.net

2009-06-11T15:08:00.005-04:00

After over a year of doing nothing, I went and made a new blog. Check it, bookmark it, RSS it, twitter it, and whatever people do to blogs these days. Word.

http://www.wgwb.net

ELECTRONIC HOOLIGANISM

2008-05-03T14:17:00.001-04:00

Really off-topic, but this is the newest video from Justice. It's easily the most violent music video I've ever seen, and it really provides a strong visual to such a menacing song. I had to share. Enjoy

Q&A WITH JONATHAN MEIBURG

2008-05-02T19:08:00.008-04:00

So I got the privilege of speaking with Jonathan Meiburg of Shearwater and Okkervil River today via telephone. Shearwater plays the Iron Horse Music Hall on May 7th in support of their new album "Rook" due out June 3rd on Matador Records. It's a gorgeous album, so get excited.

Brian Wood: I've always been fascinated by musicians who have the energy and drive to perform in multiple bands, especially when they offer such different sounds, such as the case with Shearwater and Okkervil River. What does playing and writing music in each band really offer you from a creative standpoint and how do they differ?

Jonathan Meiburg: I think it’s a great exercise for your brain. There is a great pleasure in being in a side band and reinforcing someone else’s songs and trying to figure out what you can do to make the song better, there is a lot of freedom in it. Whereas when you are writing your own songs there is a very different sort of energy or power to it that is also really exciting, but to me it really feels less free once you’ve written the song. You’re path is really laid out for you as to what you are supposed to do. And there is also a great difference between being the person who is standing up front and is sort of being the focus of the show versus being on the side and not necessarily being that person. Both are fun in completely different ways.

BW: Since you have experienced both, do you prefer being the focal point of a performance or being off to the side supplementing it?

JM: Like I said, they are different. I just did a tour with Bill Callahan where I was just playing electric guitar for him. I hadn’t played electric guitar in someone’s band since I was like 16 years old, which was just a blast getting to do that again. With that being said, I feel like Shearwater has been getting better and better and I’m really enjoying the way the band is playing now and I’m really excited about this new record and the shows that go along with it.

BW: I was lucky enough to get an advanced copy of your latest album and personally, I believe it’s your strongest effort to date. In your own words how does "Rook" differ from some of your previous albums in your mind?

JM: Well thank you very much. It’s more focused and strangely more human to me in some ways. It’s a little bit more restrained than the last record in some ways but I also felt like it was pure and deeper and has a wholeness and the sort of consistency and purpose to it that I’m really proud of.

BW: I know only the one single from the album has really been released so far, but what kind of response have you gotten so far from fans and music critics alike?

JM: We’re in that nervous period right now where we’re waiting to hear what people think, ya know? It seems to be really positive so far, a lot of people have told me they really like the record. A violinist who played on the record, I had finally gotten a copy to her the other day, she had just came in and played when we were in the middle of making it, didn’t really have a sense of what it would be like when it was finished, and she was really really happy with how it turned out. And that meant as much as anything to me ya know, someone who was in there while we were making saying it turned out a way that is satisfying

BW: The first thing that really jumped out at me about your newest album is the artwork. Could you talk about what the significance of the image is and maybe how it was taken? It is really a remarkable visual.

JM: The image was created by these artists named Kahn & Selesnick. I saw a piece of their art in a magazine and I was just fascinated by it and got in touch with them and was astonished and delighted that they were interested in working with us. So I sent them the demos from the record and talked about some of the themes from it and pretty much left them on their own to come up with an image they felt reflected it. I was really happy with that one when I saw it, because it’s so striking and beautiful but also kind of menacing and strange too.

BW: Matador Records seems to have a knack for putting out some wonderful releases, how's the partnership with them been so far since signing on?

JM: So far it’s been wonderful, I have no complaints. This album is really the test to see how things go, but they are super intelligent and dynamic and interesting group of people, and I feel honored to be working with them. I feel like they really understand what we are going for with this record. They are almost pathological in not telling their artists what to do, so I didn’t even play them anything from the record until it was finished, they had no idea. I was happy they liked it and they are really supportive.

BW: The Iron Horse is a rather intimate setting for live music. Do you feel this atmosphere lends itself to your music more than say playing a larger venue out here, like Pearl Street or the Calvin, ever would?

JM: Well we’ve never played in Northampton before so I’m happy to play the Iron Horse. I’d say we go over fine in a small room or a big one. I feel like we have kind of a big sound but we’re not tremendously loud or anything. We practice in quite a small room and we sound great in there (laughs). The most important thing at a show is if you really feel a connection with the audience and you can hear yourself well enough that you can hear the sound of your own voice and your instruments. If you got that you’re pretty much off to the races, big or small.

BW: Well I’m sure the Iron Horse will prove to be a positive atmosphere.

JM: We’ll make some noise in there; it’ll be a good time.

BW: I read that you are premiering the album in its entirety at your May 5th show in NYC, and once again in Austin on the 29th. How excited are you for those shows?

JM: It’s the most elaborate thing I’ve ever been part of, I’m really excited about it. We’re going to have a string quartet and the woodwinds and the harpist who played on the record so we’ll really be able to play it as it is on the record, so I’m excited for that. It’s almost more like putting on a play or a musical or something. I’m just thrilled that we get to play the record that way

BW: What kind of performance should people expect in Northampton?

JM: We’re going to play a lot of stuff from the new record I think but also a lot from “Palo Santo” and “Winged Life.”

BW: So a mixture of everything?

JM: Yeah. The New York show, I am trying to get ready for and I’m sort of nervous about it and I just want it to be right. It’s like planning your wedding or something. We can let our hair down after that’s over so you’ll see a pretty happy group of people on stage.

BW: That about wraps up my questions, was there anything you’d care to add?

JM: Nothing really other than we look forward to playing Northampton for the first time and hope to see you at the show.

* Download the first single: "Rooks"
* Shearwater's Official Site
* Pre-Order "Rook" from Matador Records

A THOUSAND THANK YOUS

2008-04-29T11:33:00.002-04:00

I know it's not anything groundbreaking, but today the site received its one thousandth hit, and that's pretty awesome. For a little blog I started a little over 3 months ago with very little direction, I'm happy where it has gone and that people are actually checking in despite no advertising or publicity really what so ever. Thank you to anyone who has read or continues to read this page, it means a lot. New things are coming to make the site more organized and streamlined, and from there who knows where this thing will take me. But yeah, a big thank you, a thousand of them.

TPC STIR NOHO INTO A FRENZY

2008-04-28T22:32:00.009-04:00

Tokyo Police Club stir NoHo into a frenzy

Daily Collegian | April 29, 2008

With a backdrop of sirens and the unified chanting of their name, Tokyo Police Club emerged onto a tranquil, illuminated stage amidst a hue of blue light and much fanfare. What followed was far from a peaceful Saturday night.

Translating their frenzied material seamlessly in the live setting, the band powered through the lengths of almost their entire discography before a capacity crowd at the Pearl Street Night Club. Four-piece bands generally don't create the kind of energy and depth of sound that the Canadian quartet mustered, and for that the band deserves their due. Whether rattling tambourines, emphatically clapping, or incorporating crowd interaction, the band not only stretched the limitations of what a relatively simple four-piece arrangement can offer in a live environment, they abandoned them altogether.

The frantic pace of their recorded works took on new life on stage, aided by the band's theatrical flair, engaging material, and the elaborate circle of fluorescent punctuations that accompanied every second of their set. Surrounded by synchronized glowing pillars, every break down was met with an elaborate array of colors, and every lull was met with soothing and still light. This added visual provided a unique dimension to their stage performance, accentuating the insatiable highs and melodic lows of their set list.

Bassist and lead vocalist Dave Monks was front and center and proved to be a stabilizing force to the band's eccentric on-stage persona. His bass lines carried the majority of the night's selections and were accented by Graham Wright's over-the-top keyboard arrangements and the spirited drumming of Greg Alsop.

Guitarist Josh Hook served in a variety of roles, playing his guitar positioned well below his midsection and periodically letting it hang from its strap in favor of inspiring clap-alongs and feverishly providing a supplemental layer of tambourine.

Wright was the true showman of the quartet, owning his corner of the stage with an unparallel flair for the dramatic. Onlookers could see the sweat drip from Wright's hair and collect on the lenses of his black-rimmed glasses and the exhausted expression on his face as he screamed into the microphone, lunging over his synthesizer, desperate to reach the audience.

When he wasn't playing or grinding his hips into the casing of his keyboard, he was violently rattling and slamming a tambourine, using his free hand to punctuate the fourth beats so hard your palms felt sore even from the back of the clubroom.

On this night, one of the biggest criticisms of the band's records turned out to be one of their live shows greatest strengths. With a discography that runs under an hour in length, the band provided a taste of everything, both old and new, and delivered their quick hitting songs with all the necessary dynamism.

Despite their newest album "Elephant Shell" being released just this past Tuesday on Saddle Creek Records, the crowd was familiar with the wide range of the new material performed by the band. Slower selections such as "Juno" and "Listen to the Math" resonated through the clubroom and were met with softly mouthed audience renditions to accompany the relatively calm lightshow.

Upbeat songs like the cheekily titled "Your English is Good" and the clap-along single "Tessellate" caused quite a stir in the crowd, as dancing broke out in patches throughout the packed room while those on the outskirts were likewise helpless to stand motionless.

As is almost always the case, the band's older material garnered the most positive response from the crowd. Tearing through tracks from "A Lesson in Crime," the bands 2006 release, the band managed to supplement their newest material with their established works, maintaining a delicate balance throughout the length of the set.

"Nature of the Experiment" elicited the warmest response of the night. The franticly paced number got people moving in unison with the song's aggressive pace and singing out with a complete lack of restraint in unison with Monks' vocals, which arguably sounded superior in the flesh then they did on the songs digital counterpart.

The band fittingly concluded the night with "Cheer it On," a song that served as the introduction to their first album and the band as a whole. As band and crowd yelled in unison along with the song's chorus "When you're standing near/ Tokyo Police Club/ when you're standing next to me/ Tokyo Police Club," the lyrics developed new meaning. With each emphatic declaration of their namesake it became increasingly obvious that the song was no longer an introduction; rather, it was a statement that they had truly arrived.

Photos Courtesy: Brian Tedder / Daily Collegian
Click for an awesome Photo Slideshow

TOKYO POLICE CLUB IN NOHO SATURDAY

2008-04-25T01:08:00.005-04:00

Tokyo Police Club embrace internet success
Daily Collegian | April 25, 2008

While some are quick to dismiss the journalistic credibility of blogging, its undeniable influence over pop-culture seems to grow exponentially with each passing day. If there ever was a poster child for this newfound impact the Internet has in shaping the modern musical landscape, it would be Tokyo Police Club.

The youthful Canadian quartet started out in 2005, building a small following while generating buzz in their local Toronto area, catapulting them to play larger venues and local festivals, and ultimately signing a deal with the Canadian-based independent label Paper Bag Records to release their first studio recording.

In 2006, "A Lesson in Crime" was released to the public; a debut collection of frantic and quick-hitting tracks that seemingly defied genre typecasting. The band teased listeners with its potential and brevity by racing through the EP's eight tracks with reckless abandon, the finished product clocking in at fewer than 17 minutes.

While some mainstream music critics lauded this as a glaring flaw, the album was openly embraced for its frenetic pace and audacity by bloggers and online music communities. This freshly-generated publicity catapulted the band from localized obscurity into the mainstream musical climate.

"It was really surprising but awesome," said keyboardist Graham Wright of the online buzz that surrounded the band in a recent phone interview with The Daily Collegian. "But with any kind of hype you have to take it with a grain of salt really."

Modest in both experience and nature, Wright, as well as the rest of the band, is very conscious of the power online communities have on propelling relatively unknown bands into national prominence.

"I think Vampire Weekend is the prime example, their like what, the biggest band in the world now? The people creating the hype today are just regular people, not necessarily professionally-trained writers, just people with blogs," Wright said.

"These are everyday people, so they don't have to deal with the pressures or the politics of more traditional media. They have no loyalties so they can turn on you just as easy as they praised you and that hype can disappear really quickly."

In the wake of "Crime's" success and the bands growing online contingent of supporters the band signed to Omaha-based Saddle Creek Records in 2007, a partnership that left many fans perplexed given the two parties contrasting trademark sounds.

"Initially I was a bit skeptical of signing with Saddle Creek" Wright said of the partnership. "We really don't fit that 'Saddle Creek' sound they are so well known for. But looking back I truly believe it was the best choice, it has worked out better than I dared imagine."

While the band is admittedly overjoyed with how their affiliation with the label has turned out, the jump from a small independent label to Saddle Creek was hardly a rash decision.

"We talked to every record label we could think of both big and small," said Wright. "When it finally came down to it Saddle Creek really just offered the best of both worlds for us by being small enough to get in personal contact with while still being large enough to transcend beyond the indie scene. They're really super great people too."

Last Tuesday, the bands first full-length offering from Saddle Creek, "Elephant Shell," was released in stores. While still possessing the band's unmistakable style of relatively brief and quick-paced songs, "Elephant Shell's" sound is decidedly less scattered than its predecessor and can be best described as a more centralized, cohesive effort than "A Lesson in Crime."

As with any shift in sound, there is always the chance of a backlash from fans, but according to Wright, this was a risk the band was willing to take as they strongly believe in the quality of their latest album.

"The reaction from fans has been mixed, which is honestly what I expected," Wright said in regards to fan feedback, "Some of our diehard fans, if I can really use the term die-hard, seemed a bit puzzled at first, but we have gotten some really positive responses as well. The album is defiantly different in some very key ways [from 'A Lesson in Crime,'] so it takes a little while to warm up to. I'm sure it'll grow on them though, it did for me."

One thing fans and critics universally can agree on is that even with the lengthier confines of a full-length album, the band still has a flair for creating songs that barely break the two-minute barrier. "My first thought was 'Oh great, we made another batch of two minute songs,' but we honestly never put any thought into how long a song is going to be" Wright said with a slight chuckle, adding, "We don't go back and add things in after the fact, we just write them the way we do. I guess you could say we have musical ADD."

With their current tour, the band hopes to win over more fans that may be on the fence about the new album and, according to Wright, this has been going exactly as planned.

"The tour has been going great and we've been playing some fantastic shows to some really responsive fans," Wright said. "We're all excited to come back to Northampton; Pearl Street is a really awesome venue."

Tokyo Police Club plays Saturday, April 26 with opening acts Smoosh and Who Shot Hollywood at the Pearl Street Night Club in Northampton. Doors open for the event at 8:30 p.m. and tickets are $12.50 in advance, $15 at the door.

THE CANADIAN ONSLAUGHT CONTINUES

2008-04-18T14:54:00.008-04:00

Well, I'm still recovering from the insanity that was Grand Buffet last night, and still feel a bit awestruck to be honest. Expect a full review in the coming days that tries to document how ridiculously good of a time it was. That is sure to be a difficult task.

The next show I'm covering in depth will be Tokyo Police Club @ Pearl Street on the 26th. I was lucky enough to speak with Graham via cellular telephone the other day and I am pretty excited to see them with a fresh accompaniment of tracks at their disposal. Their new album "Elephant Shell" took a few listens, but has really started to grow on me. Here's the video for the albums first single (and perhaps strongest offering) "Your English Is Good." Expect a full preview within the week. Enjoy!

RIDING 'THE LIGHTING' WITH GRAND BUFFET

2008-04-16T12:10:00.004-04:00

Riding 'the lightning' with Grand Buffet

Daily Collegian | April 16, 2008

This Thursday, to use Grand Buffet's own words, the city of Northampton will ideally resemble "Tel Aviv, but with more iced cinnamon bun franchises."

Whatever the band thinks of the city upon their arrival, the atmosphere within the Iron Horse Music Hall will be entirely under their collective control, echoing the raw energy and humor of the exuberant showmen.

To claim that Grand Buffet have a flair for the dramatic would be a gross understatement. The lively Pittsburgh hip-hop duo possesses enough enthusiasm and stage monikers to span an orchestra worth of musicians. Lord Grunge (also known as Jarrod Weeks and at times Viceroy) and Jackson O'Connell-Barlow (also known as Grape-A-Don and Plaps) combine their talents to create an impressive array of beats, energy and outlandish lyrics. With a musical career now spanning a decade, the duo have found themselves of late touring with critically-acclaimed bands such as the similarly theatrical Of Montreal, inspiring listeners along their travels with their two-pronged free-flowing attack. Now, in the midst of a headlining tour, the spotlight is directly placed on the duo.

"We don't have any instruments to hide behind or channel through," O'Connell-Barlow told the Daily Collegian via an online interview earlier in the week of their live performances. "We got to pour ourselves out into that empty space."

"It's a rush," added Weeks. "It's like being in a cage fight naked."

While on tour, the band has been unveiling songs from their newest album "King Vision," a release the band admits is a sure sign of their musical progression. When asked about this shift, Weeks said, "I think the evolution of our sound is essential. I've got enough reasons to want to kill myself. Making a record that sounded just like one we made eight years ago isn't a reason I want to add to that list."

Described by O'Connell-Barlow as a concept album with a more prog-pop sound, the album features rhymes that delve into more prominent social and political issues than some of the duo's past works.

"[The album] is over the top in its sincerity and sound in defiance of all the safe, 'subversive' hipster-magazine soundtrack bands out there snorting coke at art gallery parties whilst America is dying," said O'Connell-Barlow. "We put our balls on the chopping block with this 'heart on our sleeve' type of record. The sound of this album tends to soar more than sneak, so it runs the risk of getting shot down."

Still present throughout the length of the disc, however, is the band's unmistakable lyrical flow and ability to craft rhymes that are as identifiable with as they are, at times, outrageous. When asked about the inspiration behind their music and the creative process that fuels it, O'Connell-Barlow stated plainly, "I like using words that feel good in my mouth," while Weeks attributed, "dog sh*t-cheap wine," to being his muse in crafting the band's backing beats.

"I sit and listen to the beat for hours waiting for the wisdom of the collective unconscious/gods to add substance to whatever rhythmic pattern I've worked out," said O'Connell-Barlow, further elaborating on the creative process. With lyrics that revolve around such topics as brown bears with masonry skills on "Bears and Bricks" and meteorites crashing into fish tanks on the newly released "Cheesecake Money," O'Connell-Barlow's subconscious is truly something to behold.

On one of the band's most popular and established songs, "Benjamin Franklin Music," the duo urge their listeners to "feel the lightning inside," a sentiment that has not been lost over the past decade of creating music. "The power and resolve of the self-loving, self-respecting, self-aware individual is the closest thing to magic I've yet to witness," said Weeks.

With their performance Thursday, both members hope the audience can, as they put it, "shake off the frozen bumblebees and generate the lightning," and transform the Iron Horse into a venue of limitless possibilities.

Grand Buffet plays Thursday, April 17 with opening acts B. Dolan and Party Wolf at The Iron Horse Music Hall in Northampton. Doors open for the event at 10 p.m. and tickets are $8 in advance, $10 at the door.

Q & A WITH GRAND BUFFET

2008-04-15T11:31:00.011-04:00

I was lucky enough to get in touch with Lord Grunge and Jackson of Grand Buffet before their upcoming performance this Thursday at the Iron Horse. Here is the hilarity that ensued:

Q- Most bands have an entourage of instruments at their disposal, what is it like being on stage with nothing but backing beats and a pair of microphones?

Lord Grunge: It's a rush. It's like fucking without a rubber, or being in a cage fight naked.

Jackson: I don't like a cluttered stage. We don't have any instruments to hide behind or channel through, we gotta pour ourselves out into that empty space, as long as the sound man doesn't castrate us with quiet volume, it is a fine set-up for our music indeed.

Q - I noticed a bit of a shift in style in your sound as of late, so could you talk a bit about how your latest album "King Vision" is a departure from your previous releases? What kind of influences (musically, socially, politically, etc.) played a role in its creation and the evolution of your sound?

LG: Well, we've been a band for so god damned long that we've both grown and self-educated ourselves significantly. I don't want to come off sounding smug, but when we cut our first record we were basically just kids. we're now full-on grown up assholes, and we've seen an awful lot of intense, funky shit on the road. musically, we've both always been huge fans of music and are perpetually devouring all the music we can get our damp little hands on, so i think evolution of our sound is essential. I've got enough reasons to want to kill myself. making a record that sounded just like one we made 8 years ago isn't a reason i want to add to that list. as for the politics, well, it wasn't nearly as clear to me when i was 20 that we are indeed living under a fascist, iron heel in this country, and have been for quite some time. i think that comes down to just not reading enough. it only takes a few books on economics and the history of government for a thinking person to realize that about the only system of government that doesn't lead to a command society is one of a staunchly libertarian ilk.

Jackson: KING VISION is our prog-pop concept album, over the top in it's sincerity and sound in defiance of all the safe "subversive" hipster magazine soundtrack bands out there snorting coke at art gallery parties whilst America is dying. We put our balls on the chopping block with this "heart on our sleeve" type of record, in the spirit of easy target bands such as Rush/U2/Springsteen.. artists that we admire greatly. The sound of this album tends to soar more than sneak, so it runs the risk of getting shot down. As far as politics, it's very difficult to avoid thinking in political terms currently. Politics are avoidable if you've the income to buffer the rate at which you are effected by their repercussions, I suppose.

Q- What is the typical song writing process for you both? Lyrically you manage to create an undeniably free-flowing sound while using some rather abstract/unconventional rhymes, what comes into play when you are penning a new track?

LG: It used to be that I made the beats, and the other guy rapped. Over the years it's gotten much more fragmented. We write and record separately, then meet up and play ideas and shit with each other. I don't personally have a strict method for writing, but a couple bottles of dogshit-cheap red wine comes to mind as a real humdinger.

Jackson: Most of my writing stems from what the sonic template informs it with, what type of mood the sound elicits. I sit and listen to the beat for hours waiting for the wisdom of the collective unconscious/gods to add substance to whatever rhythmic pattern I've worked out. I like using words that feel good in my mouth .

Q- How was it touring with Of Montreal last year? I sadly missed the show, but heard wonderful reviews from friends across the country who got to attend. Do you like touring with bands like that who posses a similar flair for the dramatic?

LG: Of Montreal is inspirational, both as a band and as individuals. Their work ethic is amazing, their music is amazing, their stage show is awesome, and they're some of the god damned coolest people I've ever had the pleasure of knowing. Any band that can put up with my manic-depressive, hard-drinking, broken-hearted antics is some true good people. And yes I do think that the two groups share a passion for the performance element, which is why I think it worked well as a tour package.

Jackson: Of Montreal & MGMT are absolutely fantastic people and musicians, it was a wonderful tour. I'm happy to tour with any band that takes the stage to represent themselves with their own unique aesthetic.

Q- I have to know since it's certainly my favorite album title of the past few years, but how did you land on "The Haunted Fucking Gazebo" and what significance does it's name and artwork hold?

LG: That's all Jackson. He brought it to the table and it blew my mind. My only stipulation was that somewhere in the artwork he include a basketball.

Jackson: My higher self put that ace in the deck, it's just a title that a Grand Buffet record should have.. the album artwork is simply '' the Haunted Fucking Gazebo."

Q- Any thoughts on Northampton or the surrounding area if you've been out this way before? Any expectations if you haven't?

LG: I'm actually a big fan of Northampton. and no, I'm not saying that to be diplomatic. It's surprising, too, because normally I don't dig college towns, and I sure as shit don't dig the state of MA. I'm expecting a fun, fun time. because it always is, even when it's been an intimate event.

Jackson: I've had good Thai food in Northampton in the past. Last time we played there I bought a Brian Eno pin at a local record shop... but some asshole stole it during the Of Montreal tour. I get a little uncomfortable being around colleges.. so I hope those won't be around this time. I'm hoping that this time around, Northampton will resemble Tel Aviv, but with more iced cinnamon bun franchises.

Q- With a decade of creating music under your belt, and this latest album just released, what's next for Grand Buffet?

LG: That's a tough call. I know we're both working on solo records and some other side projects. personally, I'm trying to lose 50 pounds and then start getting paid for selling the dick on camera, if you know what I mean. The day job's been looming all this time, and I'm thinking porn might be the one for me. No, i don't have a giant cock, but my sincere, eager respect for the female form compensates. or maybe drive a big rig. Or, if we keep finding awesome, more famous bands to take us on tour as support, we'll do that until we're 40.

Jackson: The fires of Hell, the feathers of Heaven, a leather Arby's jacket and a sword named "Kevin."

Q- Now that you are a bit older, wiser... does everyone still really "got the lightening inside?"

LG: Absolutely, sir. The power and resolve of the self-loving, self-respecting, self-aware individual is the closest thing to magic I've yet to witness.

Jackson: If they choose to shake off the frozen bumblebees and generate the lightening, yes indeed.

Q- Any other thoughts you'd care to add?

LG: I think you nailed it all smashingly!

Jackson: People that use that antibacterial hand gel all the time, are fucking idiots.

Grand Buffet plays this Thursday, April 17 @ The Iron Horse in Northampton. Tickets are $10 at the door, show starts at 10 p.m.

* Grand Buffet's Official Site
* Grand Buffet on Myspace

I WAS BORN WITH AN AMERICAN HEART

2008-04-15T00:22:00.006-04:00

Saturday night was my first encounter with AA Bondy, and I left with a strong yearning to experience more work by the raspy-voiced singer-songwriter. If you have never heard him before, here's a video of my favorite selection from the night ("American Hearts"), do enjoy:

* AA Bondy on Myspace

WEAKERTHANS @ PEARL STREET REVIEW

2008-04-14T23:23:00.009-04:00

Shifting dynamics please Pearl Street
Daily Collegian | April 15, 2008

Emerging from behind the shadows of speakers and other sight-obstructing objects, The Weakerthans received a hero's welcome Saturday night from a capacity crowd at the Pearl Street Night Club in Northampton. Following an hour-plus set filled with uproars of applause and on-stage theatrics, such a reception proved decidedly warranted.

Building anticipation for the band was opener AA Bondy, a singer-songwriter with a distinctly travel-infused, folk inspired sound. From his half-buttoned collared shirt and tarnished denim to the cigarette suggestively placed behind his ear to his raspy voice and wailing harmonica solos, it was almost impossible not to draw a very obvious (and tiresome) comparison to a young Bob Dylan.

Bondy, however, delivered a fresh approach to a style that often is inundated with imitation rather than innovation, implementing elements of blues throughout his set while using simplistic means such as stomping his foot to accentuate and bring life to his lyrical narratives.

In the wake of Bondy's set came what the singer himself jokingly described as "a Canadian Onslaught." Over 15 minutes of setup and microphone checks teased with the crowd's patience, but when five figures finally emerged into focus from the dimly lit corners of the stage, the crowd uncorked in unison with raucous applause complete with a stray "Yeah Winnipeg" proclamation flying in from the bar. The sporadic side conversations and murmurs that could be heard during Bondy's set all but disappeared, and the crowd hushed in delight for the band's first selection.

The rather mellifluous-sounding "Bigfoot" served as a precursor for an evening in which the band chose to run the spectrum of their catalog. Diversity is not always a recipe for success in a live setting, but their deftly arranged set never allowed for too much of the jovial or upbeat without a necessary counterbalance of the introspective and delicate.

The band transitioned into "Our Retired Explorer" to the delight of the crowd; they clapped along with the breaks and chorus and let out loud chants of approval during vocal breaks throughout the first lively selection of the evening.

Following this, the focus shifted back to more melodic selections from the band's newest release "Reunion Tour." The album's opener, "Civil Twilight" was met with head bobs and gentle swaying and was immediately followed by "Sun in an Empty Room," which turned out to be perhaps the band's weakest offering of the night. Recorded, the layered backing vocals featured in the chorus are a welcomed addition, supplementing vocalist John K. Samson's otherwise dominant presence on the album, but on this night, with the vocal levels being perhaps a bit off, they were flat and unflattering.

Finishing up the portion of their newest material was "Night Windows," another slower-tempo track that was met with more audience participation in the form of unison clapping during the song's conclusion.

After bringing the crowd into somewhat of a stationary lull with some slower material, the band jerked the audience back to life with "The Reason" and "Tournament of Hearts," with the crowd screaming, "I know you might roll your eyes at this, but I'm so glad that you exist" along with the Canadian quintet on the former and moving all around the cramped confines on the latter.

Guitarist Stephen Carroll and bassist Greg Smith proved to be quite the showmen on the tracks; playing up to the crowd with some flamboyant stage movements and guitar caressing that had almost arena rock sensibilities to them.

From this point, the show really hit its stride. Launching into two of their most popular tracks, "Reconstruction Site" and "Aside," the crowd responded positively, becoming as audible as Samson in delivering the words of the respective songs, a quality that would be present for the remainder of the evening.

The first few notes of "Left and Leaving" received one of the loudest ovations of the night. Its subtlety delivered, yet heavily poetic verses were met with an adoring echo of fans, eyes closed, heads swaying, singing in unison. Ultimately this was short lived, as the crowd lost their collective composure for "Plea for a Cat Named Virtue," which saw Carroll leap into the crowd, guitar and all, during the buildup to the song's finale of hectic noise and the band's eventual departure from the stage.

Following a steady minute of building applause, Samson returned to play two songs solo, first "One Great City" followed by "My Favorite Chords" after at least a half dozen requests for it from the crowd. The full band returned for the conclusion of the "My Favorite Chords" and they closed the night with "Virtue The Cat Explains Her Departure" and "(Manifest)," clumsily singing in unison the trumpet notes that herald the song's, and in this case the concert's end.

On more than one occasion following a song's conclusion, The Weakerthans received a cat-call unheard by most concert-goers or bands alike: "Play that one again." While it's often advisable to leave your audience yearning for more, The Weakerthans have managed to transcend that old adage. The applause, the enthusiasm, and the participation they generated from the crowd are proof that not only the desire for more is present, but also that fans are ecstatic with what is delivered.

* The Weakerthans Official Site
* The Weakerthans on Myspace

TAPES N' TAPES

2008-04-10T23:56:00.003-04:00

Even though their new full length is incredibly underwhelming, I feel obliged to recommend downloading Tapes N' Tapes' Daytrotter session. It's free and just as good (if not better) as their forthcoming album....

* Tapes N' Tapes @ Daytrotter.com

THE WEAKERTHANS @ PEARL STREET

2008-04-10T23:42:00.008-04:00

Weakerthans at Pearl Street

Daily Collegian | April 11, 2008

When Winnipeg native John K. Samson arrives in Northampton this Saturday night for The Weakerthans' performance at The Pearl Street Night Club, he'll be accompanied by more than just a library of music and his trusty metaphors. Samson carries with him the essence of nearly two decades of artistic evolution.

As a member of Propaghandi in the mid-1990s, Samson was a man full of untamed angst and idealism, using the stage as a forum for the band's collectively brash demands for radical social and political change. Vociferating on tracks with such unambiguous titles as "The Only Good Fascist Is a Very Dead Fascist" and "Middle Finger Response," musical subtleties became inconsequential afterthoughts, replaced in favor by a barrage of F-bombs and hostility.

Following their 1996 release "Less Talk, More Rock," Samson left his role in the band to pursue new artistic directions. Shortly after this he resurfaced with a new band, The Weakerthans, in 1997 with their debut release "Fallow," an album that was staggeringly removed from his established musical roots.

Somewhere along the transition between bands, Samson dropped his impetuous and edgy persona, transforming himself into a polished and introspective songwriter. The abrasive sounds and raucous lyrics that were once so synonymous with his presence were replaced by a decidedly more melodic and nuanced sound. Delicately played guitars and supplemental keyboards replaced the more hectic, thrash delivery of instrumentation listeners had grown accustomed to. Most significantly of all, Samson's lyrics unveiled themselves as categorically sensitive in their poeticism. The political-punk had discovered his softer side.

Following the initial success of "Fallow," the band has been unrelenting in their progression. The group has released three subsequent full-lengths over the course of their 10-year existence, with each garnering an increasing amount of fanfare and publicity while further detaching Samson from his days as a loud-mouthed anarchist, and fortifying his place as a one of indie rock's most gifted lyricists.

With his newfound approach to writing, Samson litters his songs with peculiar details of everyday life that seem so miniscule on the surface, but are unmistakably identifiable. Infusing this quality with his seemingly limitless poetic sensibilities, Samson successfully delivers multi-layered themes from a wide variety of narrative perspectives that span full albums.

The Weakerthans latest release, 2007's "Reunion Tour," has been met with a mixed critical reaction and can be best described as the bands most experimental album to date. There is more prominent use of keyboards throughout the album, the composition favors a softer sounding tone, and lyrically, the album shifts in perspective between every one of its 11 tracks.

On "Civil Twilight," Samson lyricizes from the perspective of a frustrated Winnipeg Transit bus driver professing his innermost thoughts. On "Relative Surplus Value," Samson returns to his revolutionary sentiments of old by providing a voice to victims of the ever-growing economic inequalities and failures of modern life, with a subtly and craft unseen during his younger years.

The album's most abstract selection comes in the form of "Elegy for Gump Worsley," a minimally structured song that serves as a spoken word tribute to former cult Canadian hockey legend who recently passed away.

The band does, however, manage to offset some of the bleaker topics covered on the album with some jovial material. You'd be hard pressed to find a song about women's curling that is more infectiously captivating than "Tournament of Hearts." "Sun in an Empty Room's" layered choruses provide a decidedly uplifting quality that contributed an essential balance to the complete work.

Despite the album's considerably fragmented themes, the notion of continuity is not entirely scraped on the far-stretching album. With "Virtue the Cat Explains Her Departure," Samson returns to deliver a heartbreaking conclusion to one of the band's most beloved character's story arch. On "Reconstruction Site," the band's 2003 effort, Samson introduced Virtue, a dejected and oft-ignored feline protagonist, in one of the album's most popular cuts "Plea from a Cat Named Virtue." While "Plea" is an upbeat crowd favorite full of unbridled energy, "Departure" is a somber and elegiac retelling of love once-cherished fading into a distant memory, concluding with Virtue reluctantly admitting "I can't remember the sound that you found for me, I can't remember the sound."

In their current form, The Weakerthans are the culmination of Samson's journey from a brash youth into a mature wordsmith. While The Weakerthans may never posses the raw energy of Propaghandi, they more than balance this with the tactful subtleties that define their sound and Samson's continued progression as a storyteller.

The Weakerthans play Saturday, April 12 with opening acts AA Bondy and Christine Fellows at The Pearl Street Night Club in Northampton, part of WMUA's Left of the Dial Concert Series. Doors open for the event at 8:30 p.m. and tickets are $15 in advance, $18 at the door.

A SONG A DAY (COMPLETE AT LAST!)

2008-04-02T00:40:00.011-04:00

Jason Anderson is a beast unlike any other. Giving his patient fans an advanced chance at experiencing his "A Song a Day" compilation before it is formally hosted online for free by ECA Records, the showman has broken the album up into seven You Send It folders available for immediate download. Not everyone would give away 105 songs for free after just releasing two albums, but then again not everyone is Jason Anderson. Enjoy!

A Song a Day Part 1
A Song a Day Part 2
A Song a Day Part 3
A Song a Day Part 4
A Song a Day Part 5
A Song a Day Part 6
A Song a Day Part 7

* Jason Anderson's Official Site

* Jason Anderson @ Myspace

* Purchase "The Hopeful & The Unafraid" from K Records

SSLYBY @ DAYTROTTER

2008-03-31T18:44:00.008-04:00

It's been a good couple weeks for free music. Delivering with fresh takes on some of their newest album "Pershing's" best tracks, Someone Still Loves You Boris Yeltsin is the latest band to make a triumphant return to Daytrotter.com. "Glue Girls" and "Think I Wanna Die" are two of the band's strongest new offerings and they are included in the session along with two other album tracks. "Think I Wanna Die" translates wonderfully in the live studio rendition possessing a real spirit of liveliness despite the tunes ironically morose title. "Glue Girls" on the other hand struggles a bit to match its recorded glory, and sadly leaves a little to be desired. The final addition to the session is an interestingly chosen cover of the Hole song "Miss World" (very much in the vein of Okkervil River's recent session where Will Sheff chose to cover a female narrative as well.) Shoot on over and give it a download, I assure you it is well worth the effort. My only real complaint is that "Heers" is nowhere to be found because that has easily grown into my favorite track from the new album. But, it's hard to complain with five free songs now isn't it? SSLYBY is set to play Great Scott in Allston with Via Audio on April 20th. The show is an 18+ affair, sorry kiddies.

* Someone Still Loves You Boris Yeltsin's Session @ Daytrotter
* Someone Still Loves You Boris Yeltsin's Session's Official Site
* Purchase "Pershing" from Polyvinyl Records

DEER TICK DAYTROTTER SESSION

2008-03-29T15:57:00.003-04:00

Daytrotter has just put up a four-song set by Rhode Island native John McCauley, better known as Deer Tick. Deer Tick's last album "War Elephant" was a pleasant surprise when it first found its way into my stereo several months back. McCauley's voice does take some getting used to, but his gift for songwriting is unmistakable throughout the release. The new session includes two selections from "War Elephant" as well as two unreleased tracks that are awfully enjoyable. Have a listen:

* Deer Tick's Session @ Daytrotter.com

* Deer Tick's Official Site

* Purchase Deer Tick's album "War Elephant"

SUN KIL MOON - "LOST VERSES"

2008-03-29T14:33:00.007-04:00

I must admit, I was not very endeared to Mark Kozelek's first album from his newest musical outlet Sun Kil Moon, "Ghosts of the Great Highway," but his forthcoming release "April" is one of the most beautiful releases of the year to date and arguably one of his strongest offerings ever (which is saying a lot given the former Red House Painter front-man's extensive catalog.) It took me almost a full day to get through the album simply because i found myself leaving the albums opening track "Lost Verses" on repeat for hours hopelessly lost in its charms. The album is available for pre-order with the first 2,008 (clever, no?) copies coming autographed by Kozelek. Here's a copy of that song, listen and enjoy:

* Download Sun Kil Moon - Lost Verses

* Pre-Order "April" from Caldoverde Records

* Sun Kil Moon's Official Site

NEVA DINOVA @ THE IRON HORSE!

2008-03-28T19:31:00.021-04:00

One of my favorite acts, Neva Dinova, after an extended dry-spell are set to release a new record, "You May Already Be Dreaming" on Saddle-Creek Records. In addition to this exciting news the band will be coming to Northampton on their first tour supporting the release and playing the Iron Horse on Thursday, May 8th.

Pre-Orders for the new album are currently being filled, and each order comes with a rather comical bonus gift. Expect a full preview for the show in the coming weeks as well as my thoughts on the album when I get to further digest it. Upon first listen I would have to say that it is perhaps the bands most well-rounded release to date but lacks the knockout tracks that both their self-titled release and "The Hate Yourself Change" possessed. Some further listening certainly needs to occur before I can give it a definitive review though.

* DOWNLOAD "CLOUDS" BY NEVA DINOVA

* PRE-ORDER "YOU MAY ALREADY BE DREAMING"

* ORDER TICKETS FOR MAY 8 @ THE IRON HORSE (ONLY $12)

NEW THINGS AHEAD

2008-03-28T11:39:00.002-04:00

My Lonesome River Songs is going through a bit of a transitional period. I'll be updating periodically over the next few weeks before the site shifts into a more full-functioned form using Word Press. Expect big things, and thanks for reading!

JASON ANDERSON'S "SONG-A-DAY" RELEASED

2008-03-13T13:12:00.009-04:00

Another week, another new release from the tireless Jason Anderson. This time Jason has delievered the first part of his 'Song-a-Day' experiment in which he recorded at least one new song a day for quite an extended period of time. The release is, once again, completely free and provided from ECA Records. In addition to this, Jason has also released his latest official release "The Hopeful & The Unafraid" on K Records. It is a vinyl-only release and hasn't left my turntable since I received my copy last week, so needless to say it comes with my highest recommendation. To download the new 'Song-a-Day' compilation just click the appropriate link below.

* Download Jason Anderson's 'Song-a-Day' pt. 1

MOUNTAIN GOATS @ PEARL STREET

2008-03-12T22:50:00.007-04:00

Mountain Goats make good on promise

Daily Collegian | March 12, 2008

Tomorrow The Mountain Goats return to the Pearl Street Night Club in Northampton for one of the band's seven East Coast stops.

Last fall, following their last-minute cancellation of a scheduled Pearl Street performance, front man John Darnielle promised disappointed fans that he would make it up to them. Judging by his inclusion of Pearl Street in the relatively small-scale tour, Darnielle is a man of his word.

Originally hailing from California, Darnielle started the band in the early '90s, recording and releasing self-made cassettes using crude and rudimentary recording equipment. While the band's early catalog is extensive and spans multiple platforms, most of their releases were largely impossible to find. Subsequent reissues have followed in the past years, and are a true testament to the band's fervent fan base and increased critical acclaim.

With Darnielle as the primary songwriter, the band has shuffled contributing members and played in various incarnations during their lengthy history. The lineup currently performing on tour is a three-piece band consisting of Darnielle on guitar, Peter Hughes on bass and new addition Jon Wurster, joining them from the band Superchunk, on drums.

With the band's simplified instrumental arrangements serving as a backdrop, the focus and power of Darnielle's unique vocals and lyrical prowess are what propel their songs. Darnielle is so adept at crafting a compelling narrative in the restrictive length of a compact disc that he is frequently commended for being as gifted literary-wise as he is a lyricist.

Over the past five years, Darnielle has transformed The Mountain Goats from its humble beginning as an underground favorite of lo-fi fanatics to a consistent producer of polished and heavily-introspective releases. Traditionally known for his variety and depth of characters and minimalist recordings, Darnielle has used the band's last two albums, 2005's "The Sunset Tree" and 2006's "Get Lonely," as a means of providing listeners insight into the life of the gifted storyteller.

On "The Sunset Tree," Darnielle delved back into his troubled childhood and fractured relationships with his family, lyrically painting visuals of the young songwriter donning headphones while hunched over his turntable in an attempt to drown the sounds of ever present household disputes.

Further advancing his own personal story arch, "Get Lonely" is Darnielle's deflating retelling of a relationship falling apart before his own eyes. The album is full of mellow compositions weighted heavily in desperation and melancholy. While desperation is a common theme that has often appeared in his works, never before "Get Lonely" had the theme been personally connected to the songwriter. "Get Lonely" is Darnielle's most vulnerable moment.

Before these two releases, Darnielle's personal life had never been a lyrical focal point. Providing new insight into the gifted lyricist's own life, the albums are successful departures from his previous catalog, which consisted of songs revolving around such eccentric varieties as drug-dealing high school running backs, men dressed as Superman and prescription pill abusers.

While his last few releases were deeply autobiographical, the band's latest release, "Heretic Pride," is a return to Darnielle's more scattered storytelling approach to song writing. On the album, Darnielle opts to shift the primary lyrical emphasis from personal confessions and anecdotes in favor of unveiling an expansive array of new characters to the lyricist's already elaborate repertoire.

In addition to the lyrical content, the album also heralds a return to the more minimally produced and lo-fi roots that helped define their earlier years.

While "Get Lonely" was the band's most polished and devastatingly introspective work, it also proved a fitting conclusion to Darnielle's venture into personal songwriting.

The Northampton date at Pearl Street is the first stop on the road for the band, in a string of Northeast shows following a number of West Coast performances. Following the March 22 performance in Washington, D.C., the band will conclude the tour with a handful of international dates for fans in Australia.

The Mountain Goats play this Thursday with openers The Moaners and Drew Hickum. Doors open for the event at 8:30 p.m. and tickets are $18 at the door. For tickets or a complete listing of upcoming events, visit iheg.com.

BOWERBIRDS REVIEW

2008-03-03T00:44:00.005-05:00

Bowerbirds 'free from the city's cluster'

Daily Collegian | March 3, 2008

Straying from the common culture they view as destructive in its nature, North Carolina's Bowerbirds deliver inspiration for listeners with similarly progressive mentalities. As front man Phil Moore lyrically professed during their performance at The Iron Horse Music Hall Saturday, their music is "making matchsticks to start other people's fires."

Bowerbirds possess a stage presence and sound that is simultaneously haunting and soothing. With sweeping accordion and violin accompanying often minimalist acoustic guitar, the band's sound, when experienced live, is as inviting as a warm fire on a brisk winter's night.

The band opened the night with "Hooves," which also serves as the opening track on their latest album "Hymns for a Dark Horse." The chemistry amongst the trio was unmistakable even from the song's very commencement, effortlessly creating waves of sound that were just as lavish as their recorded counterparts, yet with a decidedly more intimate dimension to them.

While simultaneously finger picking and playing the high hat and tambourine with his feet for additional emphasis, Moore's voice resonated through the crowd in a demanding, yet comforting manner, bringing the audience at the hall to a whispered lull.

"You're the kindling still that burns below my heart, and you're the hooves that lead me through the forest," professed Moore during the song, while Beth Tacular and Mark Paulson supplied a gorgeous backdrop of accordion and understated percussion to the mellow number.

The band's next two songs illustrated the group's ability to seamlessly harmonize with one another. "Slow Down" and "In Our Talons" both showcase the combined vocal talents of Paulson and Tacular, who, during the respective songs, compliment Moore by adding additional layers of vocals that contribute to the songs compelling choruses.

The band gave those in attendance a glimpse of their newest music by performing two previously unreleased songs. Both songs draw lyrical inspiration from Moore and Tacular's current project of building their own home together.

The first selection was somewhat a love song, which featured both Phil and Beth singing solo parts before joining in unison for the heartfelt conclusion. The song revolves around the emotional connection the two have developed with each other and their surroundings during the past months.

The second debutant track was a surprisingly upbeat number, delving into their personal separation from the exploitation that accompanies life in modern society. The song begins with the highly visual lyrics, "One morning you wake to find you are shackled to your bed and bound and gagged; oh my, what a predicament," and reaches new heights with the group declaring in unison, "you are free, you are already free" at the song's conclusion.

Sandwiched between the new material was an established favorite in "My Oldest Memory," a song that showcases Paulson's violin talents, and further reinforcing the strength of the groups unified vocal harmonies when shouting out during choruses, "Is this an island that plots like a villain, or an old ghost friend we don't believe in?"

"Olive Hearts" was an undoubted highlight. The number shifts from upbeat accordion and harmonized choruses into a slower finale where Moore gives cheers to a wide variety of characters.

Following in the peaceful wake of "Olive Hearts" was "Bur Oak," a similarly melodic piece in which Moore would rattle the narrative with an occasional hi-hat strike, injecting moments of urgency into the otherwise low-key selection.

Closing out the night was "Dark Horse," a song that comes alive with its reassuring lyrics. Moore, Paulson and Tacular combine harmoniously during the chorus to proclaim, "We stow our words in the cellar so we never lose hope, and keep this wood fire stoked while the bitter winds blow." A rousing reception from the large and attentive audience followed, and the band graciously talked with admirers.

Bowerbirds are a band that is unified in their resolve, and anchored by their beliefs. Following their heartfelt ambitions by taking their message on the road, the band is a joy to experience in person, due to their obvious affection towards one another, and their artfully crafted views on the positive advancement of American culture. As Moore proclaims on "In Our Talons," "It takes a lot of nerve to destroy this wondrous earth." This is a nerve that the band successfully strikes with anyone open to listening.

BOWERBIRDS @ IRON HORSE PHOTOS

2008-03-02T13:12:00.002-05:00

FREE FROM THE CITY'S CLUSTER

2008-02-27T18:27:00.017-05:00

In an ever evolving social climate currently dominated by apathy, North Carolina's Bowerbirds represent a deviation from an unhealthy social criterion. When the band graces the stage at the Iron Horse Music Hall Saturday Night, they will be accompanied by not only their music, but also their advocacy for hopefulness and social awareness, concepts that are the archetype for their respective lives

When I first was exposed to Bowerbirds, I was immediately astonished with the trio's ability to use largely minimalist instrumentation to create an overwhelmingly powerful yet intimate listening experience. The band's stripped down lineup of guitar, bass drum, and generally violin or accordion serve as a catalyst for songwriter Phil Moore's artistic vision, while his lyrics are an instrument of progress and compassion.

After conversing through email with the band, I discovered that this profound minimalism is an extension of their very being. Drawing from their constant interactions with nature and their collective distress over the current state of the planet, the band has crafted music that aims to lend support towards a more sustainable and less destructive culture, while additionally endeavoring to model their own lives in a manner that mirrors their musical ambitions. Beth Tacular, who plays a variety of roles within the group, was kind enough to take time out from their current tour to answer a few questions regarding the band, their music, the future, and life off the stage before their performance in Northampton.

For starters, who are the members in the band and what roles do they play?

Phil Moore is the songwriter, and he writes the guitar and lead
vocals, and plays guitar and high hat at live shows. Mark Paulson
plays violin, piano, percussion, and sings, as well as records the
albums. I play accordion, autoharp, and percussion and sing.

If I'm not mistaken, a bowerbird is an animal known best for its elaborate theatrical mating rituals. Which forces me to ask, how did you all land on the name "Bowerbirds" and what kind of significance does it hold for you?

I found out about bowerbirds from a children's encyclopedia I was
reading to get ideas for paintings, during the summer when Phil was
starting to write the songs that would become the basis for our new
band. I couldn't believe they existed. They were so amazing. And
we liked the way they were described in the encyclopedia: as being
these birds who compensate for their sort of unassuming looks by
building intricate art to attract lovers. Also, bowerbirds sort of
represent the genius of evolution to us, and our not even having
known they existed represents to us how many species we will never
know ever existed, because this civilized culture is currently wiping
them out way too fast, as part of this Great Extinction we are causing.

Being a three piece with very stripped down instrumentation, I envision the creative process being a very communal shared experience. Could you be so kind as to take us through your typical song writing process?

It's not really all that communal, or at least it isn't that we sit
around jamming out together or something until we have a song. Phil
starts the songs each time. He plays them around me, and I may have
some feedback or think things should change, but in general, he has
complete creative control over what happens to them. I usually write
my parts with Phil right there, playing along with me. We do it this
way mostly in the interest of time - because we have been incredibly
busy and haven't really had time for me to take my time writing
parts. Once Phil's part of a song is done, we usually just give
ourselves a couple days to a week to get it ready to play live, and
that includes me and Mark writing our parts. I have to write mine
first, because I live with Phil in the airstream, and then we record
something over at Mark's house, and he writes his part.

Sometimes it works differently, where any one of us will write a part
that someone else thinks would be better a different way, and then we
work on it together. We've all helped each other write each other's
parts. But, from the beginning, the understanding with this band was
that it would be Phil's creative project, and we would be involved to
help him realize his musical vision, and that he would have final
veto power on anything. It actually works really well this way, and
I think it helps keep a similar feeling throughout the songs.

"Hymns for a Dark Horse" was one of my favorite releases last year. The albums title implies a sympathy for those who are under the radar, was a particular "unknown" a focal point or inspiration for this album?

The dark horse (or underdog who has a remote chance of winning) in
the title is the idea that we might be able to stop our civilized
society before it finishes wiping out the rest of the rain forests,
killing the oceans, imprisoning all our young poor people, numbing
ourselves with prescription psychoactive drugs so we don't notice we
are turning all our land into wasteland, lawns or pavement; and
eventually wiping ourselves out (because we can't survive without a
healthy landbase or healthy minds). The songs are hymns -- songs
with deep spiritual meaning to us -- in which we decry the
devastation the culture at large is causing, and with which we
announce our desire to sidestep that culture and be part of the
positive culture that has always existed alongside this destructive
culture (although at times it has had to exist in secret, like during
the hundreds of years of witch burnings in Europe) since the
beginning of time.

But if we don't save these species, and if we don't save ourselves
and the humans who never bought into industrialization in the first
place, the Earth will swallow us, the bacteria and mushrooms will
break down the pollution we left behind, and a million years from
now, the earth will be springing up again, inventing new species and
thriving. We know the Earth will be ok, but we don't really need to
do this to its body - killing all these ecosystems in the name of
profit. This culture is like a smallpox disease that will maim the
Earth and make it suffer, but leave it alive. At least we don't have
the ability to totally wipe out life on Earth.

A good deal of the album's lyrics make frequent references to nature, do you find this to be a constant source of inspiration for you?

Yes. We decided to move out to the country, after having spent a lot
of time in cities and in wilder places, and we finally realized we
feel a lot calmer and more in touch with life with we can interact
with wild plants and animals on a regular basis, and when we have
some peace and quiet. Also, it's a lot easier to not spend a ton of
money, which means we don't have to make a lot of money, which means
there is less reason for us to do work that supports endeavors that
are exploiting people or nature.

It took me, personally, a few years after college to be able to go
into the woods and remember how to just exist there without expecting
the sort of excitement you get from the constant movement of the
city, or of TV or the Internet or something, but eventually I
remembered, and now it's the most thrilling thing in the world to
wake up in the middle of the night and go outside the airstream and
stand barefoot on the dirt under our oak tree and watch the clouds
move over the moon through its hundred and fifty year old branches.
We also like to spend a lot of time in natural places when we travel.

I have read that you were building a home from largely recycled materials without the aid of power tools. What inspired such a rustic project, what have you taken from it, and what's the latest status on it?

We were inspired to build our own home by our friend Aimee Argote, of
the amazing band Des Ark, who told us she was using the money her
grandmother had saved for her college education to instead build a
mini-cabin to live in, so she wouldn't have to pay rent and could be
able to afford to tour and always have a place to come home to. She
started building her cabin right when we had moved back to Durham,
NC, after seven months on the road, and we had been thinking about
buying a house either in town or in the country. It turned out that
we really couldn't afford to buy a house anywhere, if we wanted to be
able to tour and also make mortgage payments, and still be able to
work on art and music as much as we wanted to.

We hadn't really ever considered building our own house until we saw
that Aimee was doing it, even though we had been already collecting
books on homemade houses, tree houses, permaculture, etc. for years.
It was suddenly like, duh, why didn't we think of this? We bought an
airstream and started looking around for cheap land in the country,
and we found some really great land in a cool area with plenty of
interesting people, and pretty close to Chapel Hill and Raleigh.
Then we obsessively started checking books out of the library, buying
books and magazines on building, and got started. We were going to
try to build it sort of normally, until we realized that would cost
us like $60,000 or something. So we are trying to build it for a
sixth of that.

It's really fun to scrounge around for used materials, and we are
saving a lot of money, and the house will have more character. We
started the cabin by using logs from a 100 year old tobacco barn that
we dismantled off someone's property, so it was free. The logs are
old and have a lot of character, including some insect holes. But we
don't care. Then we are building a little addition onto it with
traditional framing techniques. We are totally learning as we go,
but we have gotten some pointers from a couple friends. Like we
bought some Simpson straps, these metal things that make your
structure a lot stronger.

We also caved in and bought a generator, once we realized how long
the whole project was going to take, but not until we had done the
whole downstairs of the cabin. We just used it to run a circular saw
to speed up the cutting of the studs for the upstairs loft thing and
roofing boards. We had been working without power tools mainly
because we are off grid and have no way to plug them in.

Right now we are finishing framing the roof, and then what we have to
still do is: put on the roofing and siding, order wool for the
insulation and install it, finish the whole interior of the house,
install the windows and doors, add the porches and balcony, and like
100 other things. It's kind of overwhelming. But every night at the
airstream, like if it's a day when we worked on music instead of the
cabin, we go out to the cabin as it's getting dark and just sit in it
and feel very, very happy.

It's a very difficult, but very rewarding project. Mainly because we
are trying to build it really solid and strong so we can still live
there when we are old if we want to. Even if we go live in Portugal
for a year or something, we will always have it to come home to.
Also, chiseling logs and driving nails into 2x4's are really satisfying.

I'd say something we are taking from it is it is automatically
simplifying our priorities and slowing our minds down to a calmer
pace. And it's connecting us to the weather more, because we go out
there and work no matter what the weather is like, almost. So we get
to feel what it's like to spend a day outside working in 17 degree
weather with a bad wind chill. And we get to really appreciate
things like long underwear, our tiny wood stove in the airstream,
down coats (we *are* birds) and warm blankets.

Do you see the experience making its way into any of your future music?

Yeah, definitely. One of our new songs is actually a sort of love
song duet between me and Phil, and it's not a syrupy version of love,
but it has more to do with the way we fight but keep coming back to
each other. I think the process of building a home together is much
harder on a relationship than playing in a band together or running a
design business together, but at the same time is an amazing thing to
share.

Also, another new song has a lot of lyrics about being free: "You are
free from the greed of your culture. You are free from the lust for
the luster of the diamond houses in the city's cluster. From your
own ego. From your own blunder. Yes, you own the stars, you own the
thunder, but you have to share it all..." It's not really talking
about us specifically at all, but it must have been inspired in part
from feeling free from the mass culture, having escaped a mortgage,
and being separated from the peer pressure that a city brings to buy
things and live really fast, by a long drive down really nice country
roads.

Also, the house is going to be a good place to write and practice
music. We are building me a separate art studio shack thing, and
Phil will have the airstream, so we will be able to each go to a
secret place to be creative.

I have always been a huge fan of John Darnielle and The Mountain Goats (they are playing two weeks later in March in Northampton as well). What kind of an experience was it touring with him last year?

He was a lot of fun to tour with. He is an incredible performer, and
it was a great lesson to see him transform into his stage presence
version of himself and completely transfix the whole room. He and
Peter, Jon and Brandon were also great to hang out with.

It was also pretty wonderful of John to ask us to tour with him,
because we got to play to much larger audiences than we would have
been able to otherwise, and maybe ever. And most of the crowds that
come out to see him are ready to listen, so we almost always had a
very receptive audience.

Since the Northampton date for that tour last year was canceled at the last minute, have you ever played the area before? & if so what are your thoughts on the city and the musical environment, if not what kind of atmosphere are you anticipating?

We haven't ever been to Northampton before. We have no idea what to
expect!

Are there any plans for a new album in the near future? If so what can listeners anticipate?

We are re-releasing Hymns for a Dark Horse on Dead Oceans, with two
bonus tracks, and it will also be on vinyl for the first time! This
should come out in April or May, in stores nationwide. Then we will
be recording and releasing another album sometime soon, depending on
how quickly it comes together. We are playing a few new songs on
tour, so people can get a sneak preview.

Anything you'd like to add?

We are excited to be touring with Phosphorescent. They are really good.

Bowerbirds play this Saturday, March 1st @ The Iron Horse in Northampton, and I find it awfully hard to hide my excitement. For more info on the band or to purchase tickets just click the appropriate link below.

Buy Tickets @ IHEG
Bowerbirds Official Site
Have A Listen @ Myspace
Buy Hymns For A Dark Horse @ InSound

CHARLOTTE HORNETS STARTER JACKETS

2008-02-26T13:02:00.006-05:00

While it's been out for a little over a month now, I figured I would help spread the word about Jason Anderson's latest release. I learned about the album when I attended a free show of his at Brandeis University in January which turned into a two part, near four hour performance. Jason & ECA Records have teamed up to release Jason's latest album, and follow up to the wonderful Tonight (my #7 album of 2007), On The Street, a 8 track joyride for anyone who has a soft spot for the New Hampshire native. The best part of all? It's FREE. No sliding scales, no choose your own price, no illegal pirating, this album is genuinely 100% legal and free of charge. Click the link below to download a zip file that contains the album & a set of high resolution album artwork. Thanks Jason, as always you are the best.

Download On The Street from ECA Records
Jason Anderson @ Myspace
Jason Anderson's Official Site

FIGHTING OFF THE COLD

2008-02-26T11:21:00.018-05:00

With New England being in a perpetual state of alternating days of bitter cold sunshine and flood inducing freezing rain and snow, I have found myself taking comfort in intimate and stripped down sounds. Breathe Owl Breathe is a band that I was introduced to last fall and have been in love with ever since. They have a forthcoming EP Ghost Glacier that is sure to be one of my soundtracks to the spring. These songs get me hopeful for green grass and cool breezes, I hope they can do the same for you, enjoy:

Download "Black Bear" from Canadian Shield
Download "Kids + Cats" from Canadian Shield
Download "Home" from Climb In
Breathe Owl Breathe's Official Site

IS THIS AN ISLAND?

2008-02-25T22:51:00.023-05:00

In anticipation of my impending interview with them, here is an exceptionally lovely live video from Bowerbirds:

Bowerbirds Official Site
Have A Listen @ Myspace
Buy Hymns For A Dark Horse @ InSound

DAYTROTTER STRIKES AGAIN

2008-02-20T07:31:00.009-05:00

What a solid week of releases from Daytrotter. A brand new four song set from one of my personal favorites Casiotone For the Painfully Alone was just added today, check it out and enjoy.

Casiotone For The Painfully Alone's Daytrotter Session

EVEN MORE NEW MUSIC

2008-02-19T19:56:00.011-05:00

Daytrotter has once again delivered a fine set of free live session recordings, this time from the always enjoyable Kevin Devine. Enjoy these two previously unreleased tracks, "It's Only Your Life" is a particularly enjoyable effort.

Kevin Devine's Daytrotter Session

NEW MUSIC TUESDAY

2008-02-19T19:36:00.009-05:00

Polyvinyl popsters Headlights have just released a new single, "Cherry Tulips" off their just today released album Some Racing, Some Stopping, as well as a video to accompany it. They will be playing the Middle East in Cambridge on the 27th, but unfortunately they won't be making it to Northampton on this particular tour. Enjoy:

Download "Cherry Tulips"

SAX ROHMER #1 VIDEO

2008-02-13T01:50:00.009-05:00

Mark it up: in addition to his lyrical stylings, John Darnielle's music videos now are overwhelmingly full of literary qualities as well. This is the first video single off of the new Mountain Goat's album Heretic Pride set for release on the 19th. John will be making his way to Pearl Street on the 13th of March in what is sure to be a hotly anticipated event following his unfortunate last minute cancellation out here last fall. This is one of the most enjoyable and original videos I have watched in quite some time, do enjoy :

UPCOMING REVIEWS

2008-02-12T21:14:00.002-05:00

Here's a taste of what the upcoming schedule for show reviews looks like:

March 1st - Bowerbirds @ The Iron Horse
March 6th & 27th - Iron Horse Battle of the Bands @ Pearl Street Nightclub
March 13th - The Mountain Goats @ Pearl Street Nightclub
April 12th - The Weakerthans @ Pearl Street Nightclub
April 26th - Tokyo Police Club @ Pearl Street Nightclub
May 18th - Thee Silver Mt. Zion Memorial Orchestra & Tra-La-La Band @ Pearl Street
& More to be announced!

Plenty of CD Reviews are in the works as well, including newsies from a few of the aforementioned artists.

Iron Horse Review: Ra Ra Riot

2008-02-11T03:04:00.001-05:00

Ra Ra Riot prevails
Daily Collegian | February 11, 2008

In their first performance in Northampton, Syracuse's Ra Ra Riot wowed fans with an explosion of anxious beats, lavish string arrangements and passionately delivered vocals.

Following a 45-minute set by Massachusetts locals Whistle Jack, Ra Ra Riot took the stage to an enthusiastic and vocal crowd. Within moments after their sound check, the first cat calls for "Freebird" came, and acting like any self respecting band would, they were promptly ignored.

Kick-starting the evening was "A Matter to Act" off of their self-titled EP, a song that ordinarily possesses great enthusiasm, but witnessed live takes on a life of its own. Vocalist Wesley Miles softly transitioned on stage from keyboards to his microphone stand, striking delicate keynotes while belting out insatiably catchy melodies. Warm waves of sound generated by cellist Alexandra Lawn and violinist Rebecca Zeller combined with Cameron Wisch's drumming propelled the song to new heights.

Quickly transitioning into their second selection, the up tempo "Each Year," proved to be a perfect companion to their opening song. With every passing and progressing note, the at-capacity crowd swayed and danced along with arguably the catchiest song in the band's repertoire. Both guitarist Milo Bonacci and bassist Mathieu Santos proved to be quite the showmen with their animated stage movements, while Wisch was a whirlwind of flailing limbs, sticks and hair Following two of the band's established hits, the first taste of new material was presented.

Miles removed his microphone from its perch and explored the limited confines of the stage, playing off of Santos and butting heads with one another, stirring up the crowd into a frenzy. In an age where excess is commonplace in stage mannerisms, Miles is understated yet passionate with the microphone, feeding off his band members and elevating the performance to new levels in the process.

The slower "Can You Tell" proved to be a highlight of the evening, with Miles shining in his transition to the roll of crooner and Wisch continuing to show that he is a valuable addition to the band's lineup. Wisch joined the band following the tragic death of their drummer John Pike last summer. Driving the song with a tom drum heavy arrangement of anxious rhythm, Wisch managed to put his own unique twist on the established track. Throughout the song, Santos continued to show flashes of brilliance with his highly animated stage movements and knack for catchy and structurally-gifted bass lines.

Delving into some more fresh material, the band showed an affinity towards their signature stringed backdrop while incorporating tambourine and more dance inspiring bass lines. Also introduced were the vocal contributions of Lawn, who serves as a quiet and sultry counter to Miles vocal stylings. One new song, the night's slowest and mellowest piece, illustrated the obvious talents of Lawn and Zeller. Their use of cello and violin gorgeously carried the intimate song.

The unquestionable highlight of the evening was "Ghost Under Rocks," a song that exemplifies the bands strengths. Filled with vocal interplay between the urgent Miles and the delicate Lawn, wonderfully layered cello and violin and a thunderous backbone rhythm, these elements all combine to create a truly breathtaking experience. The entire band, amplified or otherwise, yelled in unison along with lyrics about "soaking wet dreams" this, more so than at any instance in the night, demonstrated not only the bands musical prowess but also the kinship amongst the group. Having survived tragedy, Ra Ra Riot exude confidence and are a unified and dedicated unit, bursting with potential and passion, while proving that great bands can thrive in the face of adversity.

Closing the night out was a spirited performance of "Dying is Fine," bringing the crowd to its most frantic point during the set. Swaying and clapping along with the band as they fired through the song, the last note was greeted with overwhelming applause. Following many thanks, Miles promised that they would return as soon as possible.

Quite simply, Ra Ra Riot combines one of the most engaging live performances with wonderfully constructed, multi-faceted songs. In addition to this, Friday's show also demonstrated their ability to strike a balance between playing new and established material to satisfy any fan's palate. Their songs are overflowing with liveliness, and the camaraderie amongst the members is a sight to behold. Their performance is not to be missed.

Ra Ra Riot Photos 2/8/08

2008-02-10T22:26:00.000-05:00

Photos courtesy of: Kevin Koczwara.

Full show review tomorrow!

Ra Ra Riot - Reaction/Thoughts

2008-02-09T01:11:00.001-05:00

I just got in the door from tonight's Ra Ra Riot show @ the Iron Horse, and what a satisfying experience it was altogether. Quite simply, Ra Ra Riot combines one of the most engaging live performances I have seen in quite some time with wonderfully constructed multi-faceted songs, while featuring a perfect balance of new and established material to satisfy any fan's palate. The songs are overflowing with livliness, even more so in person than recorded, and the comradery amongst the members is a sight to behold.

The night's opening act, Whistle Jacket, sounded at their best like a bastard child of Wolf Parade & the Dead Milkmen, unfortunately these moments were few and far between and their set annoyed more than it inspired. It was a packed crowd, especially considering it was their first trip to Northampton, but tragically it was one littered with your standard "play freebird!" variety characters. Whether people do this because they find amusement in being that anonymous asshole in the crowded setting, or they honestly still believe this proclamation is still clever or comical is puzzling and wide open to debate.

Despite these detractors, Ra Ra Riot delivered in a big way and instantly secured their forthcoming full length a spot on my most desired list. Go listen to this band, now, & expect a full review and pictures for Sunday night.

Have a Listen: Ra Ra Riot @ Myspace.com

CD Review - The Magnetic Fields "Distortion"

2008-02-08T00:52:00.003-05:00

The Magnetic Fields - "Distortion"
Rating: 8.5

Following a four year lull, a perplexing Volvo jingle, and much anticipation, Stephin Merritt has returned with "Distortion," a nearly forty minute haze of 60's pop, soothing melodies, & reverb infused instrumentation.

"Distortion's" opening track, "Three-Way," serves as the perfect introduction to separate the Fields' latest offering from it's more electro-pop centric predecessor, 2004's "i." Gone from the equation are the heavy usage of synth notes and flashes of new wave, replaced instead by an unequivocally surf inspired number, heralding Merritt's intentions on "Distortion" from it's very incipiency.

"Distortion" is an album dissimilar to any The Magnetic Fields have produced in their 17 year history. Full of 60's pop grooves, and an overwhelming amount of fuzz, the album proves to be an ambitious, and highly successful, departure for the band.

Never before has Merritt's voice, long renowned for it's unique delivery and deep tone, sounded better than it does here. With a musical backdrop fitting of the albums title consisting of distorted percussion and and heavily fuzzed-out guitars, Merritt's vocals memorize as they are ushered to the forefront and it is next to impossible to resist.

Merritt's sense of blunt wit is displayed in full force on "Too Drunk to Dream" with it's comical acapella hymn introduction and bouncy choruses. The subtle squealing feedback slowly escaping the surplus of reverb heavy, yet upbeat, instrumentation aids in the tracks momentum that ultimately culminates in an impeccable crescendo that pays off in all the right ways.

While Merritt's vocal contributions are certainly worth considerable praise, "Distortion" shines its brightest when Shirley Simms, Merritt's heavenly voiced counterpoint, assumes the vocal duties. Luckily for listeners, Simms is prominently featured, and this happens with quite some regularity.

Simms' initial offering, "California Girls," is an infectiously catchy and acrimoniously worded rebuke to the Beach Boys classic of the same namesake. Continuing with the theme of catchy composition, "Drive on Driver" is another upbeat highlight that lyrically forces comparison to the bands earliest works. With its more country based, open road imagery, “Drive on Driver” touches on themes that haven't been prominent in the band's lyrics since "The Charm Of The Highway Strip."

Transitioning from the more pop influenced selections, "Till the Bitter End" is a entrancing slowdown piece, Simms voice hitting all the points of the spectrum missed by Merritt's beloved baritone, which are at there best subsequently on the album's follow up, "I'll Dream Alone."

Perhaps the albums brightest moment comes when Merritt & Simms share the spotlight on "Please Stop Dancing." A simplified backbone beat carries the call and response structured piece but is cleverly complicated by the inclusion of enough atmospheric noise to span an entire record, accented by select and delicate notes surfacing throughout. Despite it's highly repetitive verses, the contrast created by the dueling vocals delivers almost a whirlwind effect, encapsulating the listener in it's quirks and charms.

"Distortion" is an album filled with consistent high points, gorgeously delivered vocals, and a backdrop of blissful dissonance. Well worth the wait, "Distortion" is arguably The Magnetic Field's best offering since 1995's "Get Lost," and will surely satisfy their patient fan base to the fullest extent.

Listen: Magnetic Fields @ Myspace
Buy The Album: Magnetic Fields @ Amazon

Iron Horse Preview: Ra Ra Riot

2008-02-07T13:11:00.001-05:00

Ra Ra Riot recovers, rebounds from tragic year

Daily Collegian | February 7, 2008

In the wake of sudden tragedy and hiatus, Syracuse's Ra Ra Riot has returned to bring their energetic presence and sound to the stage at the Iron Horse Music Hall Friday night.

During their relatively brief history, the sextet, fronted by vocalist and chief lyricist Wesley Miles, have garnered comparisons to such bands as The Arcade Fire and The Olivia Tremor Control for their ability to seamlessly integrate stringed instruments and composition into a more modern indie-rock landscape.

While their association with such company is warranted, what separates Ra Ra Riot from their contemporaries is the abundance of energy that resonates from every song.

Songs such as "A Manner to Act," off their self-titled EP, leap from the stereo with a sense of urgency and demand multiple plays. Where Arcade Fire's latest effort was dominated by drab and darker selections, Ra Ra Riot's debut is full of life and littered with bright and often playful hooks.

2007 proved to be a profoundly transitional year for the young band. The widespread release of their debut album, a six track self-titled EP, in both North America and Europe matched with their supporting roles on national tours with the likes of Indie heavyweights Art Brut and Tokyo Police Club saw the band rise from relative obscurity to earn considerable mainstream attention.

Perhaps the band's biggest break occurred when they performed at SXSW (South by Southwest Festival) in Austin, TX, and delivered a performance so engaging that it earned them festival wide top-10 marks from both NME and VH1.

Other notable publications were not far behind in their praise for the band, as they received favorable coverage from Rolling Stone, SPIN, and Nylon in the months to follow, with SPIN going as far as to claim, "You must know Syracuse's Ra Ra Riot. Like, right now."

Unfortunately, as successful as 2007 was musically for the band, it will always be remembered for the sudden and tragic death of their close friend and drummer John Pike. Disappearing following a house party a day after the band had performed in Providence, the discovery of his body in Buzzard's Bay in Fairhaven, MA shocked the band to their very core. Suddenly without their backbone and stricken with heavy hearts, an air of uncertainty surrounded the future of the band.

Following this period of loss and mourning, the New Year has served, in many ways, as a fresh start for Ra Ra Riot. A sold out benefit concert entitled "Friends of John" was held at the Middle East in Cambridge last month. Ra Ra Riot performed with their new lineup while the benefit also included performances by Tokyo Police Club and Vampire Weekend with all of the show's proceeds going directly to the newly founded John Ryan Pike Memorial Foundation.

Created by Pike's family following his death, the foundation aims to establish a lending library of musical instruments; this will allow and encourage underprivileged children to become active in music by allowing them to try instruments that they may have never tried or been able to access before.

The foundation plans to join forces with local high schools and colleges to bring these children together with students who are willing to volunteer music lessons, all in an effort to keep John's passion of playing and creating music alive and thriving in the hearts of many.

Despite their loss, Ra Ra Riot has returned to the studio and is in the midst of their first tour of the New Year. With their fallen friend and drummer as an undoubted inspiration, the band continues to create and perform in his memory while etching out new paths for themselves in the process. With their first full length album just completed and due for release sometime in the spring, an ongoing headlining tour, and a new sense of purpose and direction, big things lie ahead for the band.

Doors open at 10 p.m. and tickets for the show are $8 in advance and $10 at the door. The show is open to all ages. For tickets, directions, or a complete listing of shows please visit www.iheg.com

Have a Listen: Ra Ra Riot @ Myspace.com
Purchase The Album: Ra Ra Riot E-Store

New Music Friday

2008-02-01T15:30:00.001-05:00

In theme with the mix-cd series I am going to try to highlight some of the newest songs to leak or purposely find their way to the internet. For everyone's listening pleasure here are two new tracks from a couple of favorites with albums due out soon...

Someone Still Loves You Boris Yeltsin - Glue Girls [CLICK ]
Download courtesy of Stereogum.
This song had almost too much of a polished pop charm too it for me on first listen, but the twenty something plays it has garnered since then has really restored my love for this quirky math-pop band. This song is sure to cause a bit of a stir with both new listeners and long term fans alike as it is a bit of a departure from "Broom" but in my opinion one that will be very intriguing to hear. This track is much stronger offering than those on their latest 7" "Not Worth Fighting," a release that really had me nervous.

Pershing is out 4/8 on Polyvinyl Records.

Islands - The Arm [CLICK]
Download courtesy of You Ain't No Picasso.
A unique follow up to the insatiably catchy and pop riddled debut for Islands. The song finds the band evolving into more thickly layered melodies and a considerably challenging and intricate composition. From the very first second of the song, it is very obvious The Arm is unlike anything off of "Return to the Sea."

"Arm's Way" has been confirmed as the name of the band's follow up, however release dates and track listings are unavailable at this time.

Shifting Moods For Shifting Seasons - Mix-Tape Series #1

2008-01-29T22:04:00.003-05:00

So for the few who may actually keep tabs on this here blog (which has a big transformation coming) i am going to start posting what I am dubbing (for a lack of a better title) my "mix-tape series". Here is my first installment entitled "Shifting Moods For Shifting Seasons." It is a winter themed mixture with a scattered emotional pulse that seems to accompany me during the colder months. Topics include (but are not limited to in their scope) my current struggles with people leaving and dealing with an absence of a true sense of "home" for the first time in my life.

Enjoy.

1. William Elliott Whitmore - "Buildin' Me A Home"
A fitting introduction, this is partially a dedication to my friend Chris who is currently doing just as the title literally proclaims hundred of miles from home and finding satisfaction, direction, and meaning in all of it.

2. Kevin Drew - "F-cked Up Kid"
"You killed me with a kiss, like a glorious fire I wish I missed." We're all a little fucked up.

3. Imaginary Baseball League - "A Song No One Likes"
"And he just about loses his mind in all this magnificence… there's just one thing he still needs to find. Will he find it? Who really ever finds it?"

4. Black Before Red - "Spilt Milk Mistake"
"Thought all the years would change, but the family carpet is stained in giant index finger shapes and the never ending spilt milk mistake." See the next track's explanation for why this passage is significant.

5. Grizzly Bear - "On a Neck, On a Spit"
When I returned home this winter to stay with my family I had to sleep on the living room floor. This is something that had a more profound effect on me than I initially anticipated. " You can't come home again. Each time it's different. And the yards around your feet fall away while you're asleep."

6. Ed Harcourt - "The Last Cigarette"
A song about reflection in a time like no other for me to be reflective, also gorgeously pleasant to listen to.

7. Jens Lekman - "Maple Leaves"
This is the beginning of the section of the mixture that delves into a winter fling, where misconceptions and misunderstandings seem to pile up, and I am relatively oblivious to them and the reasons behind them. Also it is one of the most beautiful songs ever quite simply.

8. Amandine - "For All The Marbles"
Hearts collide, confrontations, arguments, all the bad stuff boils over. This is the end, even quicker than it began.

9. Okkervil River - "Love To A Monster"
Feelings of being overwhelmed and vulnerability combine to create the natural reactions. First taking shots and being spiteful, and then moving on to the next "blonde in the bleachers." I never learn, who does really.

10. Bonnie 'Prince' Billy - "The World's Greatest"
Simply, the inflated sense of ego that accompanies inflated bachelorhood. What better than a cover of the most arrogantly lyricized song ever to express it. Almost a too perfect conclusion to cycle.

11. Hallelujah The Hills - "Wave Backwards To Massachusetts"
The desire to flee is almost too great some times...

12. Tacks, The Boy Disaster - "Frozen Feet"
"come with me or so it seemed, there's greener grass beneath our frozen feet, but if we wait too long it'll be too late."

13. Sufjan Stevens - "Holland"
This song gives almost foggy references to summer and warmth, a feeling that is so hard to recreate when you are wearing 3 sweaters. "Lose our clothes in summer time. Lose ourselves to lose our minds. In the summer heat, I might"

14. Bowerbirds - "Knives, Snakes & Mesquite"
"I see your claws come off and your knees come out. Like an iceberg, like a secret offer. Sailing the waves of that icy morning, While all in between theres a new wind blowing."

15. Destroyer - "Painter In Your Pocket"
"I was blinded by the sun. it was a welcome change from the sight of you hanging like a willow off the arm of yet another visionary prophetess east van. punk. I didn't stand a chance, I couldn't stand at all. You looked OK with the others, you looked great on your own.

16. Ryan Adams - "Call Me On Your Way Back Home"
Because I'll always be missing someone, somewhere. Now more so than usual. "Honey I was just a kid, bubblegum on my shoe." & "Honey, that ain't nothing new."

17. Rocky Votolato - "Montana"
The people you love are why you don't flee even in the lousiest of times. This serves as a reminder.

18. William Elliott Whitmore - "Everyday"
I need to treat certain people better, hence... this.

19. Peter And The Wolf - "Where Summer Goes"
"every traveler knows, like the wise migrating bird we go, where summer goes." & "oh you know my head is so full of troubles sometimes, well nah nah nah, hey hey hey."

DOWNLOAD (.ZIP)

Top Seven in 2007

2007-12-10T23:28:00.005-05:00

On paper, 2007 was a dream year for fans of most any musical genre.

Fans of indie-rock saw new releases from some of the bands that helped shape the now heavily saturated genre. Efforts from The Shins, Modest Mouse, and The Arcade Fire all hit the shelves in 2007 and were subsequently greeted with heavy fan fare. Millions of Radiohead fans were delighted by the news that the bands latest album “In Rainbows” would be given away Online for any price they saw fit, only to feel slightly duped by the marketing gimmick when the band announced it would release the album in higher bit rate quality with additional songs in retail stores on compact disc. This after many had paid for an inferior copy. The world of hip-hop received new albums from heavyweights Kanye West and 50 Cent and were treated to the war of words and sales that followed. And yes, even contemporary country enthusiasts received a new offering from chart topper Kenny Chesney.

While there was certainly no shortage of big name releases in 2007, most, unfortunately, fell relatively flat when compared to their earlier works that had garnered them their mainstream relevance. The top releases of 2007 were generally produced from artists that hovered just beneath the mainstream radar and the intense magnification that accompanies it, and from artists who were unafraid to breath new life into the modern musical landscape:

1. Beirut - The Flying Club Cup

After substantial buzz was generated by his Balkan-folk inspired 2006 debut "Gulag Orkestar" and subsequent follow up E.P. "Lon Gisland," Beirut front man Zach Condon retreated to France with his trumpet and trusty ukulele. The result of his pilgrimage was the undeniable masterpiece of 2007, “The Flying Club Cup”. Drifting away from the heavy folk qualities that made his debut so unique, "The Flying Club Cup" instead wraps its listeners in traditional French flavors with its lavish instrumentation and gorgeously layered vocal melodies. Condon displays his strongest songwriting skills to date with such standouts as “Cliquot” and “Le Banlieu,” while the minimalist vocal and ukulele paring on “The Penalty” illustrates that Condon's musicianship extends far beyond the generally complex ensembles that accompany the majority of his works.

2. Okkervil River - The Stage Names

“The Stage Names” is the latest, and most accessible album from this sextet from Texas. Blending the elements of country and folk that dominated their debut release “Don't Fall In Love With Everyone You See” with the more rock influenced hooks and mellower compositions that were littered throughout their last album “Black Sheep Boy,” “The Stage Names” successfully strikes a chord with most any listener. Upbeat numbers such as "Unless it's Kicks" and "Our Life Is Not A Movie Or Maybe” transition into slower more harmoniously melodic songs such as “A Girl In Port” and “Savannah Smiles” without a hitch, leaving a finished product that inspires listeners to get up and move, while tugging at their heartstrings. Will Sheff's lyrics are as sharp as ever on the album, as his unique ability to craft songs with such profound literary qualities continues to impress with each album.

3. Battles - Mirrored

The first full length from Battles draws on the complexities of their earlier EPs while incorporating vastly catchier hooks and melodies. Seamlessly combining elements of rock and techno/electronica the four-piece ensemble of instrumentalists have etched out a sound that is both organic and mechanical, a sound that puts them light years ahead of their contemporaries. “Mirrored” is an album that demands numerous listens to appreciate the subtle nuances throughout, but such a demand is one that any music fan should be more than happy to oblige to.

4. Jens Lekman - Night Falls Over Kortedala

“Night Falls Over Kortedala” is by far the most complete and well rounded offering from the Swedish songwriter to date. With Lekman's wholesome baritone vocals, infectiously catchy hooks, heavy usage of looping and classic samples, and lyrics that often teeter between heart wrenching and bubbly, "Night Falls Over Kortedala" is an album that is as unclassifiable as it is unforgettable. Highlights “It Was a Strange Time in My Life” and “Opposite of Hallelujah” demonstrate Lekman's ability to incorporate more classical instrumental samples to accompany his velvety vocal melodies and biting lyricism, while “Friday Night At The Drive-In Bingo” offers a upbeat, and purposefully sloppy take on a 1950's sock hop jam with it's roaring saxophone solos and puff pastry lyrics. This range of delivery forces listeners to stay their toes, all while fighting the urge to be tapping them.

5. Kanye West – Graduation

Kanye's latest album shows growth and a willingness to be daring, something that hip-hop has lacked for years and what separates his release from the likes of rehashed gangster garbage such as 50 Cent's latest “Curtis.” Instead of beating a dead horse, Kanye delivers fresh ideas with a tact unmatched by the majority of his peers. With excellent cameo appearances by the likes of the always entertaining Lil' Wayne on “Barry Bonds” and Daft Punk on the insatiably catchy, yet tragically overkilled “Stronger,” Kanye demonstrates his willingness to enlist the services of a vast array of talent to put out unique material in a genre congested with the same old, same old.

6. Andrew Bird – Armchair Apocrypha

Andrew Bird's latest album shows a shift into more electric elements while maintaining his educational prowess in his lyrics. Known best perhaps for his remarkable whistling melodies and equally skillful violin playing, Bird incorporates both while not entirely abandoning the acoustic charms of his wonderful 2005 release “The Mysterious Production of Eggs.” Standouts “Plasticities” and “Scythian Empires” both show Bird's love affair with historical context in their respective lyrics, while opener “Fiery Crash” serves as an excellent introduction for the more rock-laden release.

7. Jason Anderson - “Tonight”

Nothing can match the energy and passion that resonates at a live performance by Jason Anderson, but he does his best to emulate the experience on “Tonight.” The album is just plain fun to experience, and proves to be a large departure from his previous more subdued works. With over the top saxophone parts, gang vocals, heavy use of keyboards, and lyrics that are alive with their carefree nature, Anderson appeals to the inner child, a force that is impossible to contain only a few tracks into the album. The album's title track is an anthem for thrill seekers and free spirits alike, while “July 4th, 2004” is as in touch with summer sentiments as any released this year. “Tonight” is a must have album for anyone who likes to clap along and say “yeah!”

Iron Horse Review: Magnolia Electric Co.

2007-10-06T20:57:00.000-04:00

Molina Brings crowd along on life journey

Daily Collegian | October 4, 2007

Resembling the battered denim jacket and dusty leather hat that he adorned, Jason Molina's lyrics exposed a traveled and well-worn man. Molina is constantly running from his ghosts while searching for silver linings. He is always in motion and never stagnant.

Molina's musical collective Magnolia Electric Co. took to the dimly-lit stage of the Iron Horse Music Hall in Northampton Tuesday night. This particular stop on the road was one that Molina admitted he made special efforts to make happen.

"We love to play this room," Molina confessed following the first song of the evening. He applauded the crowd for creating such a positive musical environment in Northampton before further delving into a handful of musical selections from his expansive repertoire.

Molina first emerged onto the music scene performing and recording under the moniker, "Songs: Ohia," recording both as a solo musician as well as with a rotating set of musicians. Molina released his first full-length work in 1997, when "Songs: Ohia" was unveiled to the public on Secret Canadian Records, a label he has remained loyal to ever since.

Following the debut, "Songs: Ohia" released five full length albums; 1999's "Axxess And Aces," 1998's "Impala," 2000's "The Lioness" and "Ghost Tropic" and 2002's "Didn't It Rain," as well as several tour-only albums, singles and EPs. It wasn't until the release of 2003's "Magnolia Electric Co.," that Molina announced that all of his future collaborative work would be played and recorded under the same name as his latest album, while any continued solo work would be released under his own name.

Molina & Magnolia Electric Co. are currently touring in support of their most ambitious work to date, "Sojourner," a four album one DVD box set limited to 5,000 copies worldwide. The box set chronicles the bands works from the past two years following the releases of their last two studio albums 2005's "What Comes After The Blues," and 2006's "Fading Trails," and includes "The Road Becomes What You Leave" a film by Todd Chandler and Tim Sutton documenting the band's trek across the prairie provinces of Canada.

For their set on Tuesday, Molina opened the night with a selection from the new box set, "Texas-71." The song's minimalist organ driven verses contrasted by Molina's rich overpowering voice created a fitting commencement to the evening.

"Now I think twice about every bargain," Molina confessed, "everything I've had and what I've walked out on."

Molina wasted no time pulling his listeners into his past indecisions, and informed them of his constant flight from them. "Now which one of these can I not outrun and which one of these can I ... baby down Texas 71."

Following some lighthearted stage banter, the band quickly broke into "Montgomery," another solemn tale of Molina's own inability to be stationary in life. With an emotional flutter in his voice, Molina softly professed, "no want, no waste and no fight, this boy is Montgomery bound," reasserting to the audience that he is always on the move, while finally concluding, "the road becomes what you leave and my ghost ain't waiting."

Without warning or hesitation the band seamlessly transitioned into "Hammer Down," a fitting up tempo conclusion to "Montgomery." The song reaches its crescendo with Molina stating emphatically that he is "heaven bound" hypothesizing that he has seen the light and is making his way towards it with reckless abandon.

This was the first glimpse of optimism presented to the crowd, who had quickly become entirely consumed in Molina's personal blues, and hinted at a possible turn of fortune for the inherently troubled songwriter.

This sigh of relief proved to be short lived.

With his next two selections, "Bowery" and "Leave The City" Molina returned to allusions to his past emotional scars. No longer was he traveling towards heaven such as on "Hammer Down," rather Molina had slipped back into darkness and regret. Molina croons on "Bowery," "Broken hearts were the only things listening and blue eyes, I heard everything."

In "Leave The City" Molina reminisces about fleeing Chicago at an earlier stage in his life, a decision he remembers having all the reasons in the world for making, but in retrospect can't remember what they were in actuality. Just as sudden as the ray of optimism that sneaked its way into Molina's story arch appeared, he quickly retreated, reminding the audience of his inescapable past regrets, a theme that would resonate for the remainder of the performance.

Molina closed the evening with two selections off of the "Magnolia Electric Co." album. Onlookers cheered with delight when the band thrust into a self-proclaimed "classic rock" full band rendition of "Just Be Simple," and again for the final song of the night, "Farewell Transmission."

Like any well-constructed story, it was not until the show's very conclusion that Molina finally put his life long journey with the blues into context for listeners, eloquently professing on "Farewell Transmission" that "the real truth about it is no one gets it right, the real truth about it is we're all supposed to try. There ain't no end to the sands I've been trying to cross. The real truth about it is my kind of life's no better off if I've got the maps or if I'm lost. The real truth about it is there ain't no end to the desert I'll cross, I've really known that all along."

During the performance Molina's songs became more than just simple narratives, they became personal confessions. When he proclaimed, "I'm not looking for that easy way out," he meant it. There were no cop-outs in his approach, no shortcuts in his delivery and certainly no ambiguities for listeners to wrestle with in his wording, his voice acting as a trembling instrument of honesty.

In "Left the City" Molina explained, "Half my life spent on a highway, half my life I didn't choose, and I have seen the North Star." The North Star is the universal compass for any common traveler, but for Molina it is the embodiment of the light at the end of his tunnel, and while he accepts that he'll never reach it, he keeps traveling on. Traveling the only way he knows how: hammering down, one stop at a time.

Excessive Use of UV Ray Protection

2007-09-27T14:44:00.002-04:00

you look like a beetle
like millions of other beetles
like a thousand photocopies
of those same beetles
anonymous, generic, faceless
some sweatpants wearing beetle
now why would you go
and do a thing like that?

Untitled

2007-07-31T22:32:00.002-04:00

alcoholic evenings expand bloated mid sections,
while my vision correction
can only be so visionary,
on the rocks & out of roll
chewing on handfuls of granola and black coffee
the illusion of poverty comforts and contorts
what in the world, i wonder.
what in the world.

2007-06-16T02:27:00.001-04:00

Bumper Cars

2007-06-16T02:25:00.000-04:00

collision detecting colliding bodies
colliding minds detect bodies of interest
bodies of water cover the earth
drink up, for i haven't a drop myself.

The Personification of People

2007-06-16T02:21:00.001-04:00

if you expect the world
to be handed on platters of silver
then hand the world something in return,
ungrateful bitches.
live life, love life
live, love, leave... now.
& take your cake with you.

Stomach Ache

2007-06-16T02:17:00.001-04:00

eat your words
eat your vegetables
i'm so fed up of consumption i could scream bloody murder
focus your attention to half hearted attempts
at thought provocation
the sun is shining
and i'm flying
over mountaintops

new one & some old stuff

2007-05-15T00:12:00.002-04:00

wishing wells
he's the kind of guy
thats afraid of most anything
but can't seem
to argue his case
he's the kind of guy
that is drowning in
old religions and new ideals
running off his mouth
slowly but steady
sinking to the beat...
"baby won't you
baby won't you
come here?"
he's the kind of guy
with too many
oh'wishing'wells
and terrified of
change.
he's the kind of guy
points his toes
to the river
singing...
"baby won't you
baby won't you
come here?"
well, won't you?
and you're probably humming...
"won't you
won't you
loosen up?"
well, why not?
he's the kind of guy
that just floats downstream
but, i can still breathe.

university drive (Feb. 18)
humming to myself,
kicking loose stones and soil,
foreign glances, fake romances, awkward stares,
i crack a smile
for a lack of better response.
forget it...
no one's heard this tune anyways.

university drive pt. 2 (Feb 19.)
frozen strolls down narrow walkways
momentary relief from the elements
strangers with stranger stares
my grilled cheese is cold and my coffee is burnt.
what exactly am i paying for here?
oh well, at least the view is nice.

poor circulation (Oct. 25)
we sit like ducks at the edge of a pond
all cross eyed and slim billed
trash to some is hallowed treasure to others
but a few specks of rye
won't keep my ribs from showing
while the sky is snowing,
& my bones are getting cold,
i need warmth,
please
roll me up & soak with kerosene.
while seeking ignitions,
i'm dripping munitions,
a malnourished molotov.
counting blessings
on frigid digits
that just don't
compute.

music to my ears

2007-04-28T14:07:00.000-04:00

Okkervil River... over and over and over again. a beautiful blend of country and folk/rock that is as walks the fine line of comforting and uneasiness with such tact.

"I'm full of fictions & fucking addictions, & i miss my mother"

yip / jump music

2007-03-20T04:06:00.002-04:00

following viewing the documentary "the devil & daniel johnston", which was an amazingly well done documentary on singer/songwriter daniel johnston who i had not previously been very familiar with, i felt compelled to acquire some of his past works. following a few days of absorbing his material, i find a lot of his later work utterly impossible to listen to due to the heavy religious and delusional topical matter, but one of his first works "yip / jump music" proves to be an intimate (almost embarrassingly so at some points) raw experience, one that i am very happy to have discovered. the albums tracks consist of little more than a cheap sounding electric organ and his high pitched childish vocals and despite these musical limitations he manages to compose some of the more heartfelt and personal songs that i have heard in a long while. songs like "casper the friendly ghost" scream of a misunderstood youth stuggling with following his asperations when those around him are quick to label him as a failure in their eyes and societies. "speeding motorcyle" is one of the most perfectly constructed pop songs i have ever heard, lyrically beautiful in its simplicity. "chord organ blues" is my personal favorite on the album, with its frantic organ and lyrics revolving around a great uncertainty in his direction in life i just am helpless to sing along in my highest of pitches i can reach. this has quickly become one of my favorite lo-fi albums of all time.

we drink to die, we drink tonight

2007-03-20T01:51:00.001-04:00

currently i find myself rather obsessed with one zach condon, known to the musical world as simply 'beirut'. his music seems almost other worldly to me, like a treasure uncovered years after its creation, yet somehow still managing to posses a breath of freshness, something musically that i crave so desperately. the atypical combination of multiple ukuleles, eloquently played trumpet, organs, and a pronounced drumming manages to sweep over me and put me in a almost dream like state. condon's voice conveys more experience and passion than anyone of his age should be able to muster, yet it hardly feels forced. condon croons in one of the many highlights of his album 'gulag orkestar', "when i feel alive i try to imagine a careless life, a scenic world where the sunsets are all breathtaking." ah-men. listening to beirut puts me in a altered, better frame of mind, it inspires me to experience the world outside of the one that i have accustomed to, and it makes me know that there is still much i have left to learn... "if i was young, i'd flee this town i'd bury my dreams underground"

essential listening: "Postcards from Italy", "Elephant Gun", "Carousels", "Scenic World", "The Bunker", "The Canals of our City"

tuesday the twentieth

2007-03-20T00:56:00.001-04:00

the beaten path got that way for a reason
lets take a step back
and laugh at our steps forward
so misguided,
so mislead,
oh naivety in all its awkward grace
like two lamb skipping towards the slaughter
while humming show tunes
and crying over spilled milk.

monday the twelfth

2007-03-12T01:52:00.001-04:00

thawing out
i always get really excited for the snow
to finally wash away into street drains,
green is such an uplifting hue,
but the saturation is saturated
and brown is whats left to make due with.

snap crackle and pop
while i consider myself
more enthralled while being
a breakfast cereal conversationalist
it does fill me with sorrow that
you can't keep your
rice paper promises

wednesday the seventh

2007-03-07T18:24:00.001-05:00

indigestion
shopping bags with inflated egos,
wallets with false senses of worth,
senses with a false state of self
i find myself surrounded by such.
you are what you eat,
and my dinner's gone cold.

winter digits
chills run up my spine
they sting my extremities
'buy some gloves' someone told me
never, the cold keeps my fingers humble.
complacent ones do no good
for me.