Tuesday, April 27, 2010

I swear I'll eat ya later

Mr Gnome played The Conservatory last night. They were good. Lots of stoner-garage rock goodness. Think early Yeah Yeah Yeahs (only way better) meets Witch or something like that. I'm too tired/lazy to write much about this show. Mr Gnome was fantastic, Eagle Claw had a couple of good groves but were wholly unimpressive and the local groups were... meh (which is disappointing, but there's at least one really good local show coming up here this weekend). Here's a song on the latest Mr Gnome album.


Mr Gnome - Slow Slide



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Here's another one that I like very much and I hope you like as well.


Mr Gnome - Plastic Shadow



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And one last one along slightly different lines, for good measure.


Mr Gnome - Vampires



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Thanks for tuning in. Next time... probably writing about another show. Maybe not.

Sunday, April 25, 2010

I'm Home

If you would, indulge me for a moment. From a technical standpoint, there's nothing Earth shatteringly hard about discussing the transcendent and transformational power of art. People write about this topic all the time. It becomes much more difficult when trying to find words that you know don't exist to describe a specific event or moment in time which can only be experienced to be understood. I have a bit of an advantage in a forum such as this where I can provide concrete musical examples, and yet, this still doesn't make the subject at hand any less daunting.

Such is the case when writing about seeing The Non with the Cloud Collision Orchestra at the Norman Music Festival this Sunday. Up to this point, I had already been treated to outstanding performances from Radio Deception, Jacob Abello and Unwed Sailor, but this performance was simply unbelievable. Backed by a nearly flawless chamber orchestra at least 20 members strong (though, admittedly, I didn't count), The Non tore through songs from both their debut album "Paper City" and their latest offering "Tadaima." Most would probably classify these guys as "post-rock" given the fact that their songs are almost entirely instrumentals which all but disregard pop song structures. If one was to liken them to any other groups operating in a similar medium, Explosions in the Sky or Unwed Sailor are about the closest comparisons that could be made. On record, they sound spacious and full, given to eruptive bursts of shimmering layers of washed out guitar lines.

Live, they create space. In about as literal a sense as I can possibly convey.

The Non - Horatio Meets Ralph

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Sitting there in the packed out Sooner Theater as the concert went on, I began to feel myself transported. Around halfway through, I had tears in my eyes. Never before have I experienced a performance as powerful as this (save for the time I played Mahler's 3rd Symphony in college, but having been a part of that performance, I can't really class it the same). If you can accept a description laden with such blatantly religious undertones, this performance seemed to literally open up the space between Heaven and Earth. It described to me what I can only imagine would be the wonder of journeying out of this existence and into the next, slowly floating through a sea of light toward a second life that seems just within reach, if only for a brief moment. This music has purpose. At the risk of sounding like a burned out psychonaut, it makes you give in to astonishment whether you are willing to or not.

The Non - Cloud Collsion

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They closed their set with a rendition of "Tofu Fire" from their first album which I can only describe as glory wrapped in amazement. Near the end, every instrument dropped out, leaving the orchestra acting as a de facto choir singing completely unaccompanied for a few bars, only to be overtaken by every instrument crashing back in at once for one final and astounding crescendo to the rapturous end. Up until this moment, most of the audience was seated but enthusiastically appreciative. Once this final charge started, everyone was on their feet and I was immediately taken with how instantly this room full of people, many who had likely not been exposed to music of this kind until today, were moved to react so uniformly and uproariously. It occurred to me that it's moments like this one that make me want to continue making my own music. No other singular force in the world can communicate so many different ideas to so many people at once, all while still saying literally the same thing to everyone.

The Non - Tofu Fire

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I've embedded a few tracks here, but you will not understand until you've been able to see them perform live, and even then, I can't guarantee that your experience will be anywhere close to the same. I guess in a way, this post was more personal than anything else, but I felt it was worth sharing. These guys are very special and I can only hope that they will be able to touch your spirit the same way they touched mine.

Wednesday, April 21, 2010

"The joke's on you, Brandy... "

This post marks the third show I've been to in a row that I've blogged about. It also marks the third week in a row that I've been to a show at The Conservatory that has been nothing short of kick-ass. Tuesday night featured a rare triple threat of amazing, with The Uglysuit, O'fidelis and Ali Harter.


Ms. Harter took the stage first and, by her own admission, played a criminally short set due in part to her own "bullshitting." She played three brand new songs, including one "hateful little song" about an old friend's gasoline fume huffing induced aborted suicide by immolation in his own house... and his white trash girlfriend (the title of this post is taken from this song). Since that song hasn't been released yet, here's a different one off of "No Bees, No Honey" for those of you who aren't familiar with her whiskey-soaked alt-country greatness.


Ali Harter - Close Up the House


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Up next was O'fidelis, who were also outstanding. They've got that wonderful indie/folk/rock/punk sound that I adore so much and they surprised me (I can't speak for anyone else) with a pulk-style (that punk mixed with folk as far as I'm concerned) cover of Lady Gaga's "Bad Romance." Once again, I don't have that, but I do have the tracks from their demo and I've been able to find song titles for 4 out of 5 tracks! This one's listed on their MySpace page as "Concion de Feliz Numero Dos" but I'm pretty sure they just called it "Happy Song Number 2" at the show. I wanted to post the mysterious "Track 3," but chose not to since I can't track down a title. You'll like this though. I guarantee it.


O Fidelis - Concion de Feliz Numero Dos


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And in the headlining slot, I was treated once again to the glorious sounds of The Uglysuit. Every time those guys play it's a joyous treat (kind of like the pumpkin cheesecake muffins that Israel's fiancee made for their bake sale at the show, but that's a whole other story). If you've yet to hear them, do yourself a favor and pick up a copy of their self-titled debut album. If you can imagine what it would sound like if Explosions in the Sky tried to write pop songs, then you're on the right track. This one is tied for 1st as far as my favorite tracks on the record.


The Uglysuit - Everyone Now Has a Smile


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That's it for now. Tune in next week when I inevitably will tell you about my experience at the Mr. Gnome show this coming Monday at, you guessed it, The Conservatory. And I'll probably post again before that too. You know me by now.

Sunday, April 18, 2010

Flirted With You All My Life

As hinted at previously, here's a post about some of my favorite artists who are no longer with us. I had actually made this post quite some time ago, but deleted it due to horrendous formatting issues caused by blogger.com's text editor not wanting to make nice with embedded YouTube videos. So, here it is now, minus the sub-par YouTube quality audio.


I guess I'll just start by going all the way back to December of last year. Vic Chesnutt quickly became one of my favorite songwriters over the past few years, so it was disheartening if not all that surprising to learn of his passing, which occurred only days before my own grandfather passed as well. He died on Christmas day after having slipped into a coma from an overdose of muscle relaxants. His songwriting was all accomplished and varied, ranging from personal ruminations on life and death, vivid, sometimes macabre narratives and clever usage of idioms, often skillfully strung together and ultimately turned on their heads. Having been mostly paralyzed from the neck down as a result of a car accident when he was 18, his guitar playing remained minimal, mostly making use of simple chords and he mostly relied on collaborating with other musicians to fill out the songs on his records. Most recently, he worked with members of Theeeee Silver Mt. Zion Memorial Mountain Chamber Gamelan Anarchist Collective Orchestra to record the albums "North Star Deserter" and "At the Cut." The song posted below appears on the former and is, in my opinion, one of the most powerful recordings he's ever released.


Vic Chesnutt - Glossolalia




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Most casual music listeners wouldn't know the name Mark Linkous, but many are at least aware of Sparklehorse. Much like Nine Inch Nails, Sparklehorse was a band in name only, essentially being Linkous' method of delivery for a handful of fantastic albums. His first album "Vivadixiesubmarinetransmissionplot" didn't shy away from up-tempo fun 90s rock in the vein of Oasis, but as time went on, his work tended more toward expansive, surreal, dreamscape-esque works, collaborating with everyone from Danger Mouse on "A Dark Night of the Soul" to Christian Fennesz on an "In the Fishtank" session. One of my favorite songs off of his first album appears below, because I like to remember the good times, but all of his stuff is more than worth checking out.


Sparklehorse - Someday I Will Treat You Good




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If you've ever seen "That 70s Show," then you've heard Big Star's song, "In the Street" which serves as the show's theme song. Alex Chilton, who died only days after Mark Linkous,  fronted Big Star as well as The Box Tops earlier on, and was the driving force for both groups. When it comes to power-pop, it doesn't get much better than Big Star. The group influenced everyone from Gin Blossoms to The New Pornographers and even one my own personal favorites, Longwave (you're going to learn from reading this blog that, for me, all roads eventually lead back to Longwave). "September Gurls" from their 2nd album "Radio City" is considered by some music critics to be a touchstone in the power-pop genre and I can't say I disagree.


Big Star - September Gurls




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And last but not least, we have Peter Steele of Type O Negative who died last week. Again, I wasn't really a fan, but their cover of "Summer Breeze" originally by Seals and Crofts is very amusing at least, so you get to hear it here. I'm more partial to the original album mix of this song, but unfortunately, it elides with the next track on the record, so you get this version mixed by Rick Rubin simply because it has an actual ending. It's on the 2-Disc "Top Shelf Edition" of their album "Bloody Kisses" if you're interested.


Type O Negative - Summer Breeze (Rick Rubin Mix)




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Okay, I know I said that was last, but as I'm writing this, the titular song of this blog post came up and I felt I should share it too. It's from "At the Cut." I really miss Vic...


Vic Chesnutt - Flirted With You All My Life




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So... that was a downer. Have a great week everybody!

Thursday, April 15, 2010

This will be a better year...

Music-loving types are all abuzz right now about the fact that Peter Steele, lead singer of Type-O Negative, just passed away of heart failure. I can't say I was ever much of a fan, but it's still a damn shame. I know how it feels to lose a musician who has enriched my world with their art, so I can definitely sympathize with his fans.


Perhaps it's a sign of how far behind the times I am, but my bad music news of the day came in the form of finding out that Harlem Shakes broke up... BACK IN EFFING SEPTEMBER OF LAST YEAR! This after creating one of the best albums to come out in 2009. Here lately, I've found myself listening to their album "Technicolor Health" more than any reasonable person would listen to anything, and you deserve to know why. So, rather than ramble on and on about how great they are, I'm embedding the first 4 songs on the record here. The whole album is solid. Easily one of the best indie rock/pop albums of the entire last decade. Listen...


Harlem Shakes - Nothing But Change Pt 2

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Harlem Shakes - Strictly Game

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Harlem Shakes - TFO

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Harlem Shakes - Niagra Falls

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I'm super disappointed about this. Maybe I'll post about my favorite artists who died recently. Hint: Peter Steele is not one of them (but he might make an appearance anyway).

Tuesday, April 13, 2010

Take back your dreams, baby. I've got mine.

As a general rule, I have fairly low expectations when it comes to listening to a group that I've never heard of before. It's probably unfair of me to think this way because there's a lot of great music out there after all, but I can't help it. Overhyping over the past few years about groups like Animal Collective and Dirty Projectors by the likes of Pitchfork and other so-called "indie" tastemakers has left a pretty sour taste in my mouth. So when I go to a show where I've only listened to one of the groups on the bill, you can bet that I'll be listening closely, trying to punch holes in the the sound of whoever is new-to-me (especially if Ryan Schreiber seems to think they're the cat's pajamas).

Luckily, Monday night was far from disappointing. Why, you ask? Deer Tick played at the Conservatory to a packed, fun-loving crowd. While Deer Tick was fantastic and the local groups were not too shabby themselves, as is to be expected, I was delighted to be treated to this little group from Lubbock, Texas on tour with them called One Wolf. My first impression was something along the lines of Gin Blossoms cross-pollenated with Dinosaur Jr, but that quickly got pushed to the side. Sure, there was still that nagging sense in the back of my mind trying to box them in, but by the end of their set, they had completely buried the cynic in me. These cats are legit. 2legit2quit if you ask me.


One Wolf - Backyard


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I picked up their most recent record on CD which hasn't been officially released anywhere but on iTunes yet and on tour (FIRSTIES!!!). It's called "One Wolf II: Secret of the Wolf." Having listened to it a couple of times over since Monday night, I have to say my initial impression still remains somewhat intact, but I hear other influences creeping in too. Peppered throughout we get hints of the aforementioned groups, as well as a little evidence that these boys may be fans of Starflyer 59 and early Pedro the Lion (both of which score HUGE points with me personally by the way) and there's that inescapable folk/country tinge that we southerners can't seem to shake. Of course, these are just my frames of reference here, and any talk about influences  doesn't change the fact that they've managed to transcend them, but there you go.


One Wolf - Rick Nelson


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These guys are all super nice and I wish them the best. They seem to have amassed a fairly decent following in their home town and will only gain more momentum as they continue to play all over this beautiful country of ours. I really enjoyed their performance and the album most certainly does not disappoint. I hope they don't mind me ripping and embedding their tracks here because I haven't asked them for permission, so this could be a limited time offer. Just give these a listen, inevitably pick up their albums on iTunes and then pop over to their MySpace or facebook page and tell them how great they are. 


One Wolf - Please Don't Make a Mess


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Obligatory text after embedded audio. I can't be witty all the time. Cut me some slack.

Monday, April 12, 2010

Re-arrange Stars Using Sunlight from Our Smiles

One of my biggest weaknesses is women who make great music. As such, I've lately been listening to a lot of lovely ladies; everything from some of my local favorites like Sherree Chamberlain and Samantha Crain to big names like Björk and Neko Case. I need not delve into the sordid details of my musical infatuations. Suffice it to say that the existence of such artists sustains the hopeless romantic in me which longs to find one of the opposite sex who puts music in as important a place in her life as I. And has good taste for that matter.


Enter Asobi Seksu. No, the singer's name is not Asobi just as Ian Anderson and Darius Rucker aren't the eponymous members of Jethro Tull and Hootie and the Blowfish respectively. Get this right and we can still be friends. Her name is name is Yuki Chikudate and she is rocking my small world as I write this. Their name translates colloquially from Japanese as "Casual Sex," though I think they sound more like a "sexplosion." They're from New York and fit very nicely into that "Dream Pop" mold I talked about in my post about Longwave. Their most recent release is called "Rewolf" and it consists of acoustish versions of songs on their last three albums.


Asobi Seksu - Breathe Into Glass (Acoustic at Olympic Studios)


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Now, this probably won't give you the best idea of what they sound like on the reg, but I've been listening to this one a lot lately. Most of their songs have a bit more of a kick to them i.e. plugged in with layers of reverb and delay. If one were to describe their sound as the aforementioned "sexplosion," this record would be more akin to being roused from sleep next to that hypothetical significant other on a cold winter morning by the sunlight reflecting off of freshly fallen snow and onto your not-quite-ready-to-open eyelids.


Asobi Seksu - New Years (Acoustic at Olympic Studios)


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Oh, and did I mention that Yuki has one of the most soothing voices I've heard in recent years? Add to that the fact that she sings in both English and fluent Japanese and that the music is gorgeous/lush/amazing, and you have a guaranteed winning combination as far as I'm concerned. They just went back into the studio to start work on their next album and I am sooooo ready for it. If you want to get into their stuff in a way other than this not-quite-acoustic record, I would recommend picking up "Citrus." I would post a track from that record, but my files for it seem to be corrupted and I don't feel like ripping it right now. Tough cookies.

Thursday, April 8, 2010

They Live in the Meadow

Spring is a good time for Black Moth Super Rainbow. Tell me I'm wrong. I dare ya.

Listening to this makes me want to spend an afternoon dozing in a hammock in the middle of a forest, sipping on something intoxicating. Add a cool breeze and a lady friend and I'd say that's a pretty perfect way to spend an afternoon (so long as there are no bears around).

Black Moth Super Rainbow - Forever Heavy


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No fancy discovery stories or lengthy descriptions here. Just enjoy. These songs are from their album "Dandelion Gum," which is delicious... both literally and figuratively.

Black Moth Super Rainbow - Sun Lips


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Have a great weekend everyone.

Tuesday, April 6, 2010

I command you to leave this body!

Currently, I have about 10 different things I want to talk about here, but being the well organized person I am (HA!), I'm taking things one at a time. While I won't say that this one is the most pressing, I will say that having been to a brilliant show last night, it is definitely at the forefront of my mind. As such, this post will be about the pAper chAse. Let's start things off relatively light...


the pAper chAse - The Laying of Hands

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Okay. So we got that brief introduction out of the way. I figure it's best that I introduce most people to these guys in exactly the opposite manner in which they were introduced to me. You guys get the luxury of being slowly lowered into the madness. I was dropped into the fray without warning.


So let this serve as your warning: This is not "easy" music.


the pAper chAse - What Should We Do?

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My first exposure to these guys was on a playlist compiled with friends. You will hear the song I heard at the end of this post. It was an extremely jarring experience as these guys have a penchant for crafting music that can be simultaneously catchy and cacophonous. At times, it sounds as if the song is going to spin out of control into a fit of noisy, atonal madness, but (usually) comes back to some sort of center. However, like 20th Century "classical" composers working with unusual methods of organizing tones, what may sound like chaos is actually carefully planned and painstakingly put together to achieve the desired effect. Often, we have the juxtaposition of intense passages of atonal bursts alongside very memorable melodies and sometimes we get them both at once.


the pAper chAse - I'm Going to Heaven

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The lead singer, John Congleton, is a producer and engineer and, as you can imagine, I was rather surprised that this guy has worked with artists such as The Polyphonic Spree, Explosions in the Sky, This Will Destroy You and The Appleseed Cast. While their newest album, "Someday This Could All Be Yours Pt. 1" is easily their most accessible to date, it's still no easy ride. Case in point:


the pAper chAse - This is a Rape

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"Someday... Pt. 1" is supposed to be about natural disasters. Throughout the course of the record we hear about forest fires, extinctions and mass hysteria. Somehow, Congleton even manages to make some sort of comparison between a flood and a rape, as in the previous example. Part 2 has yet to be release, but supposedly represents the aftermath of every disaster depicted in Part 1. If you like what you've heard so far, it's all on the latest album. There aren't really any songs on it that I don't like so I can unequivocally recommend that you pick it up if you're looking for something that's a bit off-kilter but still listenable. I wouldn't steer you wrong, would I?


As promised, here's the track that started it all for me. From their album "God Bless Your Black Heart," this is easily the most challenging listen on this post.


the pAper chAse - One Day He Went Out for Milk and Never Came Back

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I promise the next post will be easier. Thanks for considering.

Saturday, April 3, 2010

We're still living here. How come nobody can tell?

This post probably won't tell most people anything that they don't know already, but on the off chance that you WEREN'T aware, Ryan Adams has written some pretty amazing songs over the years. My personal favorite record of his has to be "Love is Hell," and I find it hard to believe that a collection songs as fantastic as this wasn't considered by his label to be commercially viable. Case in point:



Ryan Adams - This House is Not For Sale
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Now, I'm not going to bombard you with a bunch of tracks like I did last time. I'll drop a few here for you to check out, but really, you should probably already own this record.


To be perfectly honest, I didn't pay a whole lot of attention to Ryan Adams until the release of "Love is Hell Pt. 1" because I hadn't been particularly impressed with "Gold" when it first came out (for the record, my opinion on that album has since changed for the better). I was working at CD Warehouse at the time, and a used copy floated through the store. I popped it in because there was some internet buzz around it at the time and I didn't want to simply dismiss it just because I didn't care much for some of his previous stuff. Right from the beginning, this record grabbed me. From beginning to end it has this hushed sense of urgency and desperation that ebbs and flows, which in a lot of ways reminds me of some of Jeff Buckley's work (minus the otherworldly angelic voice, of course), especially on songs like "Political Scientist" and superior-to-the-original-in-every-way version of "Wonderwall" (again, very Buckley-esque in that respect). It's very ballad heavy, but when it picks up... magic.


Ryan Adams - English Girls Approximately

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So, that's all I really have for this one. Chew on some "Wonderwall" while you're at it.


Ryan Adams - Wonderwall

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