Q&A WITH JONATHAN MEIBURG

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

TPC STIR NOHO INTO A FRENZY

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

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

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

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

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

WEAKERTHANS @ PEARL STREET REVIEW

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

THE WEAKERTHANS @ PEARL STREET

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.

NEVA DINOVA @ THE IRON HORSE!

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)

MOUNTAIN GOATS @ PEARL STREET

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

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

FREE FROM THE CITY'S CLUSTER

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