Rarities
So I went out to eat with some friends tonight, effectively forfeiting my duty of passing out candy to ghosts, goblins, princesses, and whatever else kids dress up as for Halloween these days. Instead of letting the trick or treat candy I bought for the occasion go to waste, I conducted a little social experiment by leaving a bucket of candy with a note that read "Please take ONE handful, don't be greedy little monsters." Needless to say, there was no candy left upon my return, and judging by the fact that maybe 3-4 kids showed up last year, it's pretty safe to assume that some snot-nosed rugrat got more than his/her fair share of M&M's and Blow-pops. Granted, the note I left may have been slightly accusatory, so I don't fully blame the younger generation for their brash opportunism. Besides, I was a shameless turd in my hay-day, and would have taken the candy and run. So in celebration of this uber-strange holiday we call Halloween, I offer you one of the better Ryan Adams b-sides I've stumbled across. The song is fittingly titled "Halloween" and was released on a 3-song promo by Lost Highway Records in 2004. Here it is, along with the other two tracks from the promo. -- Capt. Obvious
Listen:
MP3: Ryan Adams - Halloween
MP3: Ryan Adams - Closer When She Goes
MP3: Ryan Adams - Funeral Marching
10.31.2007
Ryan Adams: Halloween Promo (2004)
Siberian: With Me (2007)
New Wax
Young Seattle band Siberian has only been around for three years, but their full-length debut With Me sounds extremely polished. The band's short time together has obviously been well-spent, and they've honed a sound that combines soaring shoegaze guitars with lead singer Finn Parnell's spot-on melodies. While Siberian's birthplace is the Pacific Northwest, their music has the elemental makeup of overdriven Brit-pop. They could probably fit in quite unobtrusively on a bill with bands like Doves and Elbow, and critics are already making a comparison between Finn's voice and 90's-era Thom Yorke. What sets Siberian apart from the majority of British bands is their indie-inspired guitar work, which is reverb-heavy and reliant on angular structure. Many of the album's instrumental moments sound derived from the likes of Minus the Bear and even Explosions In The Sky. Sure, every element of the band's sound seems easily attributable to obvious influences, but it would be unfair to label Siberian as copycats. They may not be reinventing the wheel, not yet at least, but With Me is above-average from start to finish. They've assembled a deservedly buzzworthy debut. -- Capt. Obvious
Listen:
MP3: Siberian - Belgian Beer & Catholic Girls
MP3: Siberian - Islands Forever
10.30.2007
Paste Magazine Pulls A Radiohead
You Should Know
Decatur, GA-based PASTE Magazine has become one of my favorite publications. It's filled with quality content revolving around the important things in life: independent music and films. Each issue also includes a CD-sampler jam-packed with new music. The magazine has only been around for 6 years, but it has received burgeoning readership, and managed to crack the top 25 (#21, to be exact) on the Chicago Tribune's list of the "50 Best Magazines." In an exciting marketing ploy, PASTE is offering a one-year subscription for, you guessed it, whatever the heck you feel like paying. New subscribers can enroll for a minimum of $1 while those who already hold a subscription can renew for the same price. A one-year subscription of PASTE (11-issues) typically runs $19.95. Those honest-Abe types who decide to pay full price for their PASTE subscription will be rewarded by having their name listed in a future edition of the magazine. On the other hand, the throngs of morally-corrupt freeloaders who toil in an existence of guiltlessness can gank a subscription to a top-notch magazine for the insignificant price of a small chili from Wendy's!!! (And the masses feverishly overturn their sofa cushions, in hopes of commandeering a fistful of loose change). -- Capt. Obvious
Subscribe: www.pastemagazine.com
10.29.2007
Bon Iver: For Emma, Forever Ago (2007)
New Wax
Bon Iver is the pseudonym for Justin Vernon, who used to be a member of Raleigh, North Carolina indie band DeYarmond Edison. After quitting the band, Vernon returned to his father's cabin in Wisconsin where he would eventually record the material that would become the mournful For Emma, Forever Ago. As the title implies, the album has an air of reminiscence to it, along with a deep sense of isolation. While For Emma most definitely sounds like a deeply introspective work from an artist sequestered to voluntary solitary-confinement, Vernon also invokes a deep appreciation for his natural surroundings. On "Flume," Vernon sings: "Only love is all maroon/ Lapping lakes like leery loons/ Leaving rope burns/ Reddish Ruse." Vernon's lyrics are image-driven and sometimes thematically unclear, as if there is just enough veneer painted over his words to keep his secrets from being fully divulged. As far as musically, folkies like Will Oldham and Sam Beam are obvious touchstones for Bon Iver's music, but Vernon's one-of-a-kind vocals exhibit a haunting soulfulness that separates him from convenient labeling. Vernon's voice is a captivating instrument in its own right, and it transforms songs like "The Wolves: Act I and II," from throwaway snooze-fests into undeniably moving affairs. Ultimately, For Emma, Forever Ago is one of the saddest, most beautiful albums I've heard in awhile, and Vernon's future as Bon Iver is limitlessly promising. -- Capt. Obvious
Listen:
MP3: Bon Iver - Flume
MP3: Bon Iver - Skinny Love
10.28.2007
Interview: Kevin Devine
Conducted by Capt. Obvious
Obvious: Your last album, Put Your Ghost To Rest, was released on Capitol Records, did you feel any sort of new pressure recording for a major label, and when can we expect a new album?
Devine: It was a different experience completely, recording that record. It was the first one that wasn't done in New York (we were out in L.A.), the first one that wasn't done relatively cheaply, and the first record I'd made with another producer besides Chris Bracco or Mike Skinner from the Goddamn Band in like 4 years. And a lot of that did come from the switch to a major - more money to record, better studios, the option of living somewhere else for two months, and the chance to bring someone like Rob Schnapf in. But I never felt particularly pressured, not in the song cycle, not in the sound of the record; they were really accepting and supportive and if anything just enabled us to meet some cool people, stretch our legs and try something different. It was a really rewarding experience for me.
That being said, Capitol got swallowed by Virgin and I got sacked alongside 40 or so other bands and most of the infrastructure within the company itself, so I'm back prowling the field. Free agent. I'm touring a lot so you might not see a new record until late 2008 or early 2009. Writing; just not really in that place yet.
Obvious: You're from Brooklyn, do you get to play a lot of shows there and what's your favorite venue to play?
Devine: I play in New York a lot, and have been lucky enough to play nearly every worthwhile venue up to Webster Hall or Irving Plaza size-wise I can think of in Manhattan and Brooklyn that's been open since 1997. I loved Northsix and am eager to check out the new Williamsburg Music Hall there; Bowery Ballroom is a favorite; I was sad to see Brownies go. Wanna check out Union Hall in Park Slope, yet to go there.
Obvious: You're good friends with Jesse Lacey of Brand New, he even sang on a few songs on Split The Country/Split The Street. How did that friendship come about?
Devine: We were both in an amateur archery program, Silver Tips, in rural Connecticut summers growing up. I think his parents sent him there as discipline; I was voluntary as there's not much occasion for archery in the asphalt jungles of Bay Ridge. You'd get jumped carrying a bustling quiver around!
I wouldn't say we were rivals; more that we kind of ran in different circles. Jesse was more of a maverick stylistically (we called him 'Coltrane' because his improvisational, feel-oriented approach evoked the fluid unpredictability of jazz) and I definitely played it close, was more a proponent of the Octobad school - the famous 'aim, don't shoot!' philosophy (my nickname was 'Wonder' as in reliable whitebread).
It was a magnetized marriage of opposites; I think we learned a lot from each other; I learned to hang looser, and he learned the merits of team play. Obviously just one of many solid relationships formed at Silver Tips. There's an annual reunion we always go to together. It's well-catered.
Obvious: I really enjoy your sense of wordplay, "Whistling Dixie" being one of my favorite examples of that. Do you have any particularly important literary or musical influences?
Devine: Comic books, 90's guitar rock over and underground, good folk and country music, punk rock, social justice, books in general, books and books and books.
Obvious: I'm a big Manchester Orchestra and Owen fan, have you had a chance to delve into their material and how was touring with Andy Hull and Mike Kinsella?
Devine: Andy's a good friend and Mike's awesome, and the tour did nothing to dissuade me of those opinions. They're both really good at what they do. It was an easy tour to do.
Obvious: I noticed the Guns N Roses poster on the cover of Circle Gets The Square. What's your favorite song on Appetite For Destruction?
Devine: Definitely "Rocket Queen"; best ending of a rock song in all of the 80's. Its sweetness got the band laid more than the whole rest of the album, I guarantee you that.
Myspace: http://www.myspace.com/kevindevine
Listen:
MP3: Kevin Devine - Wolf's Mouth
MP3: Kevin Devine - Less Yesterday
Rocket Science (2007)
Celluloid
Jeffrey Blitz follows the success of his 2003 documentary Spellbound with a quirky coming-of-age tale entitled Rocket Science. I know what you're thinking: quirky coming-of-age film... ooh, how original. And you're right, with the kind of indie-following director Wes Anderson has cultivated, it seems that these socially awkward films are sprouting up quicker than rabbit offspring. That being said, Blitz's film topples preconceptions by relying on some formidable performances by a group of talented young actors. At the core of the story is a stuttering boy named Hal Hefner (Reese Daniel Thompson), who can barely verbalize a coherent thought let alone communicate openly with the opposite sex. When he is recruited by debate champion Ginny Ryerson (Anna Kendrick), Hefner's hormones overtake his sense of reasoning, and he agrees to the humiliation. Hefner's adolescent crush on Ginny sets off a chain of uncomfortably awkward events (go figure). While the "stuttering boy joins the debate team" premise seems so obvious, I can't recall of it ever being done before. Surely Rocket Science is derivative in a lot of ways, borrowing from the "awkward teenage outsider" ideology of films like Rushmore, Thumbsucker, Donnie Darko, etc...etc.. but the script is well-written and the actors inhabit their roles admirably. It's a darkly comedic film about flawed characters, and regardless of what jaded detractors may say, it's highly enjoyable. The cello scene alone makes it worth watching, and the soundtrack by underrated songwriter Eef Barzelay adds another strengthening element. -- Capt. Obvious
Listen:
MP3: Eef Barzelay - I Love The Unknown
MP3: Eef Barzelay - Girls Don't Care
Verdict:
10.27.2007
October Mixtape
SIDE A
1. Sufjan Stevens - They Are Night Zombies!
2. Patrick Wolf - Ghost Song
3. Cursive - Bloody Murderer
4. Interpol - Evil
5. Margot & The Nuclear So & So's - Vampires In Blue Dresses
6. Peter Bjorn & John - Chills
7. Chad VanGaalen - Graveyard
8. Nada Surf - Spooky
1. Bat For Lashes - Bat's Mouth
2. Fields - Skulls And Flesh And More
3. The Long Winters - Scared Straight
4. Cat Power - Werewolf
5. The Isolation Years - Goblins And Pines
6. Bloc Party - Hunting For Witches
7. Hundred Hands - Spider Eyes
8. Ryan Adams - I See Monsters
10.26.2007
American Football (1999)
Albums Revisited
American Football was a short-lived band that originated in Urbana, Illinois and consisted of members Steve Lamos, Steve Holmes, and Mike Kinsella. The band was formed by Kinsella and Lamos after a previous project, The One Up Downstairs, called it quits. Other members of The One Up Downstairs went on to form Very Secretary, while Kinsella and Lamos recruited Steve Holmes and started American Football. The band only managed two releases for Polyvinyl Records: an EP in 1998 and a self-titled full-length in 1999. While the band disbanded in 2000, American Football has received a considerable following in indie circles. They blended Kinsella's honest lyrics with mathy musical arrangements built on shifting time signatures. They took the angular techniques of bands like Braid, softened the edges, and created music that was chill yet impressively technical. While American Football is no longer together, lead singer Mike Kinsella, who has been a member of influential Chicago bands Cap'n Jazz and Joan of Arc, currently records impressive solo material under the pseudonym Owen for Polyvinyl Records. Here's "Never Meant" from American Football's full-length album, along with an acoustic version performed by Owen. -- Capt. Obvious
Listen:
MP3: American Football - Never Meant
MP3: Owen - Never Meant
10.25.2007
David Gordon Green
You Should Know
Born in Arkansas, raised in Texas, and film schooled at the North Carolina School of the Arts, young director David Gordon Green has a firm grasp of Southern culture. His slow-paced films have drawn comparisons to Terrence Malick, who actually helped produce Green's 2004 gothic thriller Undertow. Green's films exhibit the same keen eye for location as Malick's while being more character driven. Green's first film, George Washington, was shot during a Winston-Salem, North Carolina summer in 1999, and its cast consists of young untrained actors discovered at YMCA casting calls. The film went on to enjoy film festival success and it secured a multidude of awards. He followed his successful debut with a quirky love story entitled All The Real Girls, which stars Green's college pal and budding actor Paul Schneider and is set against the backdrop of the Blue Ridge Mountains. The film's ultra-awkward dialog, no-ambition characters, and portrayal of strange love on the outskirts of society made it a sort of anti-Hollywood love story. Characters miscommunicate, and while they feel powerful human emotions, they're too inarticulate to ever introspectively describe them. It's one of those polarizing films that will either dazzle you or piss you off, and that's when you know the director's onto something. Since 2003, Green has made Undertow, a solid southern gothic tale of brothers running from their father's killer, this year's Snow Angels, which is touring the festival circuit and stars Kate Beckinsale and Sam Rockwell, and a Seth Rogan-penned action/comedy entitled The Pineapple Express that should see daylight sometime next year.
Here are a few excellent tracks from the moody All The Real Girls soundtrack. -- Capt. Obvious
Listen:
MP3: Bonnie Prince Billy - Even If Love
MP3: Sparklehorse - Sea Of Teeth
MP3: The Promise Ring - Say Goodbye Good
Jon Hardy & The Public: Working In Love (2007)
New Wax
According to his bio, St. Louis' Jon Hardy was the son of a traveling preacher man, and he spent his childhood hopping from church to church while his father saved souls. It was a Southern succubus of a woman who "pulled him away from the preaching life" until the relationship collapsed and "sent Hardy into the two-lane honky tonks and hardscrabble gambling rooms he'd once admonished with ferocity." Awesome. Hardy found himself homeless and sleeping wherever he could find shelter. He'd eventually land a job as a cook at a Waffle House in Defiance, Missouri where he would meet his wife. Happy ending right? Wrong. She'd eventually leave him for another man. So judging by this bio, you'd think that Hardy's music was a never-ending abyss of sadness. Wrong. Hardy and the members of his band (whose bios are as equally interesting) The Public have lived the wandering life, and their music exhibits a tangible sense of world-weariness. While Hardy's lyrics consistently touch on lost love, the tracks on "Working In Love" are ultimately upbeat and catchy. They find their gravitational axis on an anchor of strong pop melodies, with Hardy's voice striking a strange balance between Jeff Tweedy and Anthony Kiedis (minus the incomprehensible gibberish). As far as strong tracks, "I Work For Everyone" and "Don't" are standouts, while "Cassius Clay" is not only the best song on the album, it's one of the better songs of 2007. -- Capt. Obvious
Listen:
MP3: Jon Hardy & The Public - I Work For Everyone
MP3: Jon Hardy & The Public - Cassius Clay
10.24.2007
Jeff Tweedy: Sunken Treasure Live (2006)
Rarities
For a band that puts out such compelling material, it seems absurd to label Wilco a live band, but experiencing one of their shows gives you true perspective of their genius. At the core of that genius is principle songwriter Jeff Tweedy, who formed the band after alt. country trailblazers Uncle Tupelo disbanded. While Wilco's early material extended on that country-tinged sound, Tweedy and company have since evolved into one of the most influential rock bands of our time. Last year Tweedy embarked on a solo acoustic tour of the Pacific Northwest, and Sunken Treasure was recorded during those shows and made available as a DVD. The clips on the DVD were taken from shows in Seattle, Portland, Eugene, Arcata, and San Francisco. It was also directed by a group of filmmakers which includes Brendan Canty, otherwise known as the drummer from Fugazi. Tweedy's extensive set features material from a variety of his projects, including Wilco, Uncle Tupelo, and Loose Fur. Those who purchased the DVD were able to access a website which allowed them to download the songs on the DVD as mp3 files. Here are a few of them. -- Capt. Obvious
Listen:
MP3: Jeff Tweedy - I Am Trying To Break Your Heart (Live)
MP3: Jeff Tweedy - Black Eye (Live)
10.23.2007
Ryan Adams: Follow The Lights EP (2007)
New Wax
I couldn't wrangle a digital copy of Ryan Adams' new EP Follow The Lights, so it was a nice change to actually drive to the local record store to purchase it. Besides, iTunes doesn't need anymore of my money. My initial reaction to the EP is that it's an enjoyable albeit peculiar outing from Ryan and the Cardinals. It's a weird mixture of unreleased tracks, remakes of old songs, and an Alice In Chains cover. For those of us who weren't as readily keen on Easy Tiger as the critics were, this EP is decent enough to pacify our yearning for more material. Where Easy Tiger seemed blandly by-the-books, Follow The Lights is a bit more dynamic in its offerings. The title track opens up the EP decently, sounding like it could have easily fit on the final songlist of Easy Tiger. The next track, "My Love For You Is Real," is a polished studio version of an unreleased song from Ryan's live catalog. While it's decently executed by the Cardinals, it lacks the intimacy that made the live version so compelling. For the next two songs, Ryan lets loose vocally on a solid take of "Blue Hotel," a song he originally wrote and produced for country icon Willie Nelson, and on a quality cover of Alice In Chains' "Down In A Hole." It must be a daunting venture to turn a grunge song into alt. country gold, but the band pulls it off nicely on one of the EP's brighter moments. The last three tracks on the album are alternate studio versions of old songs. "This Is It," a track from Adams' grandiose Rock And Roll, gets a shot of country as a Cardinals-backed reworking. "If I Am A Stranger," one of the strongest tracks on Cold Roses, gets the live studio acoustic treatment, and its more stripped-down instrumentation provides a fitting backdrop for Ryan's confident voice. Concluding the album is "Dear John," which was originally an awkward duet with Norah Jones on 2005's otherwise-unblemished Jacksonville City Nights. The new version shines with Ryan's voice front and center and guitarist Neal Casal's spot-on vocals in the background. Ultimately, Follow The Lights may not be totally necessary, but rather than complaining about Adams' prolific output, we might as well embrace it. The remarkable "Down In A Hole" cover along with a superior remake of "Dear John" alone make the EP worth your while. The rest is just gravy. -- Capt. Obvious
Listen:
MP3: Ryan Adams - My Love For You Is Real
MP3: Ryan Adams - Dear John (Live Studio Version)
10.22.2007
Josh Ritter: Live At The Record Exchange (2007)
Rarities
Josh Ritter graduated from Oberlin College with a major in American History through Narrative Folk Music. I guess they let you create your own majors up there, but Ritter's educational path has obviously served him well. He's become one of the more celebrated songwriters of our time. Often compared to Dylan (who isn't?), Ritter also cites Leonard Cohen as a major influence. His 2006 release The Animal Years was a critical success, and this year's more upbeat follow-up The Historical Conquests Of Josh Ritter has solidified his popularity. With historical references to Joan of Arc, Calamity Jane, and Florence Nightingale on the upbeat folk ditty "To The Dogs Or Whoever," Ritter makes use of his scholastic background. Earlier this year, Josh played an acoustic live show at The Record Exchange in Boise, Idaho. It was released as an EP and was supposedly only available at Josh's shows and at select independent music stores (although you can now purchase it on Amazon). Here are a few tracks from the EP, including an acoustic version of "Girl In The War" and the previously unreleased "Bandits." -- Capt. Obvious
Listen:
MP3: Josh Ritter - Girl In The War (Live Acoustic)
MP3: Josh Ritter - Bandits (Live Acoustic)
10.21.2007
Elliott Smith
You Should Know
Four years ago today Elliott Smith died in his Los Angeles home from an apparent suicide (although the circumstances surrounding his death have been questioned since). He left behind a rich catalog of music and a throng of grieving fans. Smith's musical career began after he graduated from Hampshire College in Massachusetts in 1991 and his band Heatmiser moved to Portland to pursue a full-time musical career. After three full-length albums, Heatmiser broke up in 1995, although Smith had already begun recording acoustic solo material. In 1994, Elliott released Roman Candle, a collection of demos that didn't fit the Heatmiser project, under Cavity Search Records. He followed his debut with Elliott Smith in 1995 and Either/Or in 1997 under the label Kill Rock Stars. After contributing the Oscar-nominated song "Miss Misery" to the Good Will Hunting soundtrack in 1997, Smith experienced newfound stardom and was signed to DreamWorks Records. Under major label backing, he'd go on to release 1998's XO and 2000's Figure 8. Since his untimely death in 2003, two posthumous albums have been released: 2004's From A Basement On The Hill and this year's New Moon. From A Basement contains material from an album that Elliott was working on before his death and New Moon consists of demos, alternate versions, and b-sides from his Kill Rock Stars years.
With a thin yet undeniably affecting and heartfelt voice, Smith often tackled his demons by singing about his bouts with depression and addiction. In death, the troubled yet truly gifted songwriter has become an immensely celebrated and influential figure. His promising career was cut short at the age of 34. -- Capt. Obvious
Listen:
MP3: Heatmiser - Collect To NYC
MP3: Elliott Smith - Needle In The Hay
MP3: Elliott Smith - Rose Parade
MP3: Elliott Smith - Everything Reminds Me Of Her
The Roadtrip Mixtape
SIDE A
1. Rocky Votolato - Montana
2. Matt Pond PA - New Hampshire
3. Josh Ritter - Idaho
4. Deer Tick - Nevada
5. Jay Farrar - California
6. Pedro The Lion - Arizona
7. Paper Rival - Alabama
1. Red House Painters - Michigan
2. Damien Jurado - Ohio
3. Modest Mouse - Florida
4. TJ McFarland - Tennessee
5. Josh Small - Indiana
6. The Wooden Sky - North Dakota
7. The Winter Sounds - Minnesota
Castanets: In The Vines (2007)
New Wax
Raymond Raposa is the mastermind behind Castanets, a project often lumped into the Freak Folk category, but with its share of pedal steel guitars and slow drums, Castanets' newest release In The Vines sounds like it'd make a fitting soundtrack to a dark modern remake of Sergio Leone's A Fistful of Dollars. Directed by David Lynch. There's a dreariness in the material here and Raposa's slightly off-kilter vocals invoke visions of desolate landscapes and tumbleweeds. While the songs aren't particularly bold or attention-grabbing, the album's thickness tends to seep into your skin after multiple listens and the subtle dashes of electronic swells, distortion, and echoed vocals strewn about the album add a strange sense of uneasiness to the material. In The Vines feels like driving through the desert listening to a lost radio station that's being transmitted from another realm and time, all amidst the vastness of an electrical storm. While Raposa's slightly nasally, whiskey-soaked drone is intriguing, the female backing vocals throughout the album do much to enhance the somber melodies. This isn't the kind of album you want to put in the stereo when you're pulling an all-nighter, but Raposa's brand of slow-moving country-tinged folk is certainly different and its original elements ultimately make it compelling. -- Capt. Obvious
Listen:
MP3: Castanets - Sway
MP3: Castanets - Sounded Like A Train, Wasn't A Train
10.20.2007
Nada Surf: KEXP Acoustic Session (2006)
Rarities
If the extent of your Nada Surf knowledge halts at their 1996 hit single "Popular," then you're missing out on a band that has evolved immensely over the years. Formed in 1992 in New York, Nada Surf eventually abandoned Elektra Records after the label rejected a recording of The Proximity Effect. The band later released the album on their own label, MarDev Records. In 2004, with backing from Barsuk Records, lead singer Matthew Caws and company turned in their masterpiece, Let Go. The album showed tremendous growth for the band and it managed to reach #31 on the Billboard Independent Albums chart. Coming off the success of Let Go and with newfound indie credibility, the band released The Weight Is A Gift in 2005. The solid album was helmed by Death Cab For Cutie guitarist and producer extraordinaire Chris Walla, and it found the band extending their newfound sound. The band is scheduled to release a new album entitled Lucky on February 5th of next year. Today's installation of rarities contains a few songs from an acoustic session the band played at KEXP Seattle in 2006. -- Capt. Obvious
Listen:
MP3: Nada Surf - Blonde On Blonde (KEXP Live Acoustic)
MP3: Nada Surf - Always Love (KEXP Live Acoustic)
10.19.2007
The Oxygen Ponies
You Should Know
I've been spinning this melancholic record a ton lately from a band called The Oxygen Ponies, which is actually a moniker for New York singer/songwriter Paul Megna. If you read the biography on his website, you'd think you were reading the treatment for the next Charlie Kaufman script. For example: "As a teenager, Paul Megna was taught how to play guitar by Jeff Buckley - after being shot in the neck by a sniper in Hell's Kitchen in 1994. His misfortune was covered on Page Six of the New York Post under the caption 'Bullets over Broadway.' A playwright saw the write-up, contacted Paul in the hospital and offered him the lead in the production of 'Coffee With Kurt Cobain'" If that excerpt alone isn't enough to peak your interest, then the fact that Menga makes wonderfully lonely music should suffice. Paul's been through some tough times, and that predisposition generally bodes well for heart-on-your-sleeve songwriting. In fact, the material on the Oxygen Ponies debut feels like a hangover on the brightest day of the year, where beams of sunlight battle with drawn curtains and unfiltered cigarettes are the medicine of choice. The songs are mostly built on acoustic guitars, but electronic touches add nuance to the tracks. Menga's voice is rustic and sounds exhausted, especially on songs like "Chainsmoking," where Menga admits, "All my stupid life I have searched for you/ And now that I have your love I don't know what to do." We've all known people who blame everything and everyone else for their problems, and luckily Menga never crosses that line. While there's melancholy-o-plenty on the album, there's an undercurrent of personal responsibility on songs like "Get Over Yrself" that keeps the material from becoming unbearably somber. If your tastes lie in the Red House Painters/Afghan Whigs vein, then you'll dig the The Oxygen Ponies. Menga is set to start working on a new album soon, so be on the lookout. -- Capt. Obvious
Listen:
MP3: The Oxygen Ponies - Chainsmoking
MP3: The Oxygen Ponies - Happy Where U R
Tags:
The Daytrotter Mixtape
SIDE A
1. Page France - The Ruby Ring Man
2. David Bazan - Cold Beer & Cigarettes
3. The Long Winters - Hindsight
4. Horse Feathers - Walking & Running
5. The National - Slow Show
6. Langhorne Slim - By The Time The Sun's Gone Down
7. Sea Wolf - You're A Wolf
8. The Snake The Cross The Crown - A Brief Intermission
1. Two Gallants - Seems Like Home To Me
2. Shearwater - Nobody
3. Will Johnson - Emma Jane
4. Bishop Allen - The Monitor
5. Will Oldham - New Partner
6. Elvis Perkins - Emile's Vietnam In The Sky
7. Phosphorescent - Worried Blues
8. Owen - Playing Possum For A Peek
10.17.2007
Ryan Adams: Suicide Handbook (2001)
Rarities
Rumor has it that Ryan Adams recorded the unreleased Suicide Handbook in a Nashville studio in early 2001, just before undertaking the recording of his 2001 release Gold. The album has passed through the hands of bootleg aficionados and die-hard fans alike, and it contains a collection of sparse tracks peppered with audio imperfections that occurred during the transfer from the master tapes. Who knows if these were final mixes, but the melancholic tone and acoustic feel of the album is quality Ryan Adams. Apparently Lost Highway found the album too depressing, and they opted for the more upbeat and marketable Gold, which became Ryan's best selling album to date. For those of us who prefer our Ryan Adams sad, Suicide Handbook is a godsend. You'll recognize some of the song titles on the album, as a handful of the tracks were re-recorded and appear on other albums. The versions of "Wild Flowers," "She Wants To Play Hearts," "Cry On Demand," and "Dear Chicago" are stripped down, intimate perspectives on some well-known songs. There's also a wealth of unreleased material on the album that will probably find it's way onto the box set Adams has promised to release in the near future. -- Capt. Obvious
Listen:
MP3: Ryan Adams - Wild Flowers (Alternate Version)
MP3: Ryan Adams - Off Broadway (Original Version)
MP3: Ryan Adams - Dear Chicago (Alternate Version)
Ryan Adams, Suicide Handbook, Bootlegs, Rarities
10.16.2007
The National: Boxer Demos (2007)
Rarities
Matt Berninger's baritone lull and strangely original lyrics have made his band The National a force to be reckoned with. While the band's output dates back to their eponymous 2001 debut, their 2005 release of the attention-grabbing and highly re-playable Alligator put them on the map. The album is an odd assortment of off-beat prose and self deprecating poetry that yields more brilliance upon each listen. The charm in Berninger's material lies in his lyrical vagueness. For example, "All The Wine" reads: "I'm put together beautifully/ Big wet bottle in my fist/ Big red rose in my teeth/ I'm a perfect piece of ass/ Like every Californian/ So tall I take over the street with highbeams shining on my back/ A wingspan unbelievable/ I'm a festival/ I'm a parade." With excerpts like that, it's easy to see what makes Berninger's songwriting so unique, and The National added another solid entry to their growing catalog with this year's Boxer. Songs like "Slow Show" and "Mistaken For Strangers" find the band spreading their wings musically while Berninger's biting words remain sharply witty. In today's post of rarities, you'll find an alternate version of "Brainy," which appears on Boxer, along with a previously unreleased track entitled "Santa Clara." -- Capt. Obvious
Listen:
MP3: The National - Brainy (Alternate Version)
MP3: The National - Santa Clara
Richmond Fontaine: $87 And A Guilty Conscience EP (2007)
New Wax
Fresh off their release of this year's Thirteen Cities, alt. country band Richmond Fontaine prepare for their upcoming tour of the UK and Spain by dropping $87 And A Guilty Conscience That Gets Worse The Longer I Go, an EP/mini-album with 8 songs, including the title track which originally appeared on Thirteen Cities. The good news for devout fans is that the rest of the songs are new, and there are some undisputed gems amidst the material. To be honest, I wasn't particularly keen on Vlautin's voice when I first delved into his material with Richmond Fontaine, but his heartfelt and whiskey-soaked stories quickly won me over. With his ability to paint rich characters and simple yet gut-wrenching tales, it's no wonder that Vlautin's songwriting skills translated well into a memorable debut novel entitled The Motel Life. Vlautin has proven that he can pack just as much grit into a 3-minute song and $87 And A Guilty Conscience... is chalk full of Vlautin's precise imagery. For instance, "The Water Wars" opens: "My roommate was sleeping/ I took his keys and 100 bucks/ headed out 'til his car broke down outside of Tucson/ Went on a bender, I ended up in the can/ No use calling anyone/ They gave up on me years ago." Even the instrumental tracks on the EP pack a wallop, with the pedal steel guitar of "43.50" making the closing track memorable. If alt. country is your bag and you haven't heard Richmond Fontaine then you're missing out. $87 And A Guilty Conscience... captures the band at the top of their game. -- Capt. Obvious
Listen:
MP3: Richmond Fontaine - The Water Wars
MP3: Richmond Fontaine - Wilson Dunlap
10.15.2007
Interview: Randi Russo
Conducted by Capt. Obvious
Obvious: When did you start playing guitar, and why'd you opt for the upside-down right handed guitar rather than a lefty guitar?
Russo: I started playing guitar when I was 19 years old. It's a long story how I came about playing guitar upside-down. Basically, I'm a lefty and when I wanted to play guitar, the salesman told me that most lefties play righty -- it's just easier, in the sense that usually stores don't carry a lot of lefty guitars and if they do, they are more expensive. Since this was my first guitar and I never played guitar before and wasn't sure how interested in it I'd be, I decided to follow his suggestion and bought a cheap righty electric.
But something didn't feel right about playing righty, so I flipped it upside-down and played it lefty; however, I DID restring the guitar so that it was the same as if I bought a real lefty. A few months later, I was at a street fair, and I saw a used guitar... this was a small body classical right-handed guitar. It had those little tie-strings and I thought to myself, "oh, I don't know how to restring that." And, for whatever reason, it never occurred to me that I could take it to someone who did know how to do that -- I'm a very DIY kind of person and sometimes it never enters my mind to ask anyone for help. I also was kind of a lazy person back then, and if something was too much trouble, then I just left things as they were.
So I started playing this guitar upside-down and my electric the "correct" way. But, this classical guitar was always next to my bed, leaning against the wall, while the electric was in its case and under my bed. Again, my laziness comes into play... since the classical was next to my bed, I kept reaching for that one and started writing songs on it. For a while, I still played the electric the right way, but when the bulk of my material was written using this upside down style, then I switched the electric back and played that one upside-down as well. I played only that way for several years.
Recently, I started playing real lefty guitars, so I now play both ways again. However, most of my songs are written and played on the upside-down guitar.
Obvious: Do you think that your unconventional style of guitar playing gives you a fresh perspective as a songwriter?
Russo: Absolutely. Being self-taught and playing upside-down fostered a style that was based on coming up with unusual chords that just sounded good to me. I didn't care what the chords were called or about any kind of typical song structure.
Obvious: You're also a painter. How does the creative process when you paint compare to your songwriting process?
Russo: In some ways, they are similar. When I paint, I rarely have a specific idea in mind. I just pick up a brush and go. Then when I start to see a face or figure, I try to bring it out to the surface. It's like my guitar-playing, in that I go by my gut instinct, of which I am always aware that this instinct is fueled by my heart and not really my mind... my mind comes into play when I work on lyrics or when I'm trying to pull that image out from the swirl of colors or lines.
Obvious: You seem to be conscious of the dichotomy between personal identity and outside perception on Shout Like A Lady. Describe the feeling of putting yourself out there in front of an audience, and was it intimidating when you first started performing?
Russo: Getting out in front of an audience was very difficult for me in the beginning. I was such a shy and private person... shy enough to only play super quietly in my own apartment because I didn't want neighbors to hear me. I was self-conscious to an extreme and it's taken me years to get over it. Now, I feel very comfortable performing and I enjoy it. I wouldn't say that I'm completely uninhibited, but I'm certainly exponentially less self-conscious and much more confident. But yes, I am still aware of the dichotomy of the inside self and the outside self. I still struggle with the fear of other people's judgments, and I still work on bringing the inside self to the outside world. I consciously challenge myself to be unashamed about what I feel/what I'm thinking/what I'm saying -- this has been a work in progress and I have noticed quite a huge improvement there as well.
Obvious: You get a lot of comparisons to Patti Smith and PJ Harvey. Do you find the comparisons flattering, and do you ever think that comparisons box you in as an artist?
Russo: Both. I'm happy to be compared to such amazing artists and feel empowered by it. But sometimes it works against me. A big-time music attorney (his firm reps Lou Reed and David Bowie) was interested in my stuff on some hearsay alone and then read my press. Being a huge Patti Smith fan, he went on and on about wanting to hear my music and how much he loved Patti Smith and how he went to all her NYC shows. Then after hearing only three of my songs, he said, "I like your songs and you're very talented, but I cannot shop you and say that you're the Patti Smith of 2006." So, my press worked against me. It kind of set me up for a fall because he was expecting something completely different. It's true -- I am not Patti Smith, nor would I want to be because I have something of my own to say and I definitely have a different bent on the way I play my guitar and write songs. It seems like people in the business, especially those "in the big leagues," want to market someone as "The Next so-and-so." I'm hoping that whatever makes me unique will be admired and someone will want to take a chance on it.
As far as PJ is concerned, she was a huge influence on me, whereas I didn't hear Patti's music until after I was getting comparisons to her. Upon hearing Patti's music, I became a fan and have been influenced by her since then, but her music was completely unknown to me when I was first writing songs and singing... I just knew about her through Robert Mapplethorpe's photographs. At one of his exhibits, someone said that she was a poet, but never mentioned anything about her being a musician. It was years later that I heard "Horses" for the first time.
Obvious: I noticed some ink on your arm, what's your tattoo?
Russo: It's a gargoyle. But he has no wings... it didn't occur to me at the time to give him wings. I keep saying that one day he'll get his wings. Not sure if he's earned them yet.
Myspace: http://www.myspace.com/randirusso
Listen:
MP3: Randi Russo - Cobwebs
10.13.2007
Pelican: City Of Echoes (2007)
New Wax
William Burroughs argued about the end of words in the 80s, noting that we had “reached the end of what could be done with words.” Yes, he wrote about reaching the end of words, but perhaps his point is still valid. [If you’re not the bookish sort, you can hear him ramble on about similar topics on Material’s 1989 release, Seven Souls]. To be sure, a number of legitimate groups occupy the “post-rock” genre, including identifiable names like Sigur Ros and Explosions in the Sky as well as the more obscure Mono, Isis, Russian Circles, Red Sparowes, and, of course, Pelican. The first thing green listeners should keep in mind about Pelican: don’t hold your breath waiting for those vocals to kick in. They never will. Like Burroughs, Pelican have reached the end of words. It’s all about the pure emotive power of instrumentation for these guys; vocals would only detract from the experience. Pelican’s 2005 release, The Fire in Our Throats Will Beckon the Thaw, touted the compelling yet sparse addition of acoustic guitar to their rich wall of sound, which tumbles out like a juggernaut performing pirouettes. Pelican have expanded on the acoustic vibe somewhat for City of Echoes, their 2007 release. “Winds in the Hands” relies heavily on acoustic guitar. Transitions between tinkling acoustic notes and dirty, visceral grooves are somewhat jarring, but that’s kind of the point. Pelican’s music is structured, but not in the quantized, sterilized fashion that defines our Pro Tools era. The notes seem alive, possessed of a raw and unrefined quality that sometimes defies or denies meter, seems to hiccup and skip. There’s an edge of recklessness and danger between the notes of tracks like “Bliss in Concrete,” as if the music might just lift off the rails and veer out of control. Generally speaking, the newest release avoids those slow-burning, dramatic intros and overwrought or stagnant passages. City of Echoes cuts right to the chase, offering Pelican’s trademark growl, but with somewhat bouncier tempos. Song titles like “Bliss in Concrete,” “Dead Between the Walls,” and “Lost in the Headlights” offer compelling, yet abstract frameworks for interpreting the music. There might be significance in those song titles, but it’s up to the listener to figure that part out. And that, my friends, is all part of the fun. -- Kilgore Trout
Listen:
MP3: Pelican - Winds With Hands
10.12.2007
Bright Eyes & Britt Daniel: Home IV EP (2002)
Rarities
The Home EP series originated on Austin's indie label Post Parlo Records. I'm not even sure if the label is still in operation but they released a series of great split EP's that contained contributions from Kind Of Like Spitting, Ben Gibbard, and American Analog Set lead singer Andrew Kinney. This particular edition of the series pairs Conor Oberst of Bright Eyes fame along with Spoon lead singer Britt Daniel. Oberst's identity as emo boy-wonder has undergone a slight metamorphosis and he's drifted towards more polished, folk-inspired material with I'm Wide Awake, It's Morning and this year's Cassadaga. While Oberst has changed stylistically, his lyrics remain undeniably potent. Meanwhile, Daniel's band has cemented its place as an important band. Founded in 1993 by Daniels and drummer Jim Eno, Spoon reached major label status when they signed to Elektra in 1998. It was an ill-fated affair, but the band has since found a seemingly permanent home on Merge Records. The band's most recent release, Ga Ga Ga Ga Ga, managed to debut at #10 on the Billboard 200, proving the marketability of their music. -- Capt. Obvious
Listen:
MP3: Bright Eyes - Southern State
MP3: Britt Daniels - Let The Distance Bring Us Together
10.11.2007
Radiohead: In Rainbows (2007)
New Wax
Radiohead’s first major album since 2003 is out, folks—and it’s available for download. Big deal, right? Here comes the tricky part: purchasing In Rainbows is a bit like visiting a natural history museum: you can pay whatever price you feel is appropriate. If jack squat seems appropriate to you, then jack squat is the buying rate. The band’s decision to bypass the big bad record labels and reach their fans directly might inspire some important upheavals in the industry (apparently NIN, Oasis, and Jamiroquai are also considering a similar approach). The thought of a market shift toward such a “pay whatever works” approach to music sales would certainly generate its share of ulcers at iTunes headquarters. But enough about money—what about the music?
Speaking as a fairly loyal Radiohead fan, I’m going to suggest an alternate title for the album: Hit and Miss. Gone are the long, obtuse song titles that defined Hail to the Thief. Songs like “Go to Sleep (Little Man Being Erased),” and “Sail to the Moon (Brush the Cobwebs from Your Eyes)” read like experimentalist poetry, while the actual song lyrics painted an expansive fictional landscape that carried considerable emotional weight. Many of the lyrics also resisted direct interpretation, making them timeless and perpetually rewarding. In contrast, In Rainbows feels a bit more austere musically, while Yorke’s lyrics feel a bit more reductive. Previous albums have invoked the voices of electronic instruments while retaining a fractured, dirty, atonal edge—like a “detuned radio,” to borrow from Yorke’s catalogue. In general, In Rainbows offers a predictable emphasis on electronic feels and staccato beats, but the album sounds more polished. It’s classic Radiohead, but with a few more coats of lacquer. That being said, I can’t dispute the brilliance of “Reckoner,” with its deliciously distorted cymbal pattern.
I’m not sure what’s brewing in Yorke’s personal life, but whereas previous songs might have contained subtle references to a lover or potential lover, several songs from the new album, including “Nude,” “All I Need,” “House of Cards,” “Jigsaw Falling Into Place” and “Videotape,” seem to feature a speaker concerned with a romantic “other,” albeit Yorke distorts such situations into visions of painful temptations and thwarted desires, making the tracks much more compelling than your typical lover’s lament. Yorke’s lyrical prowess shines in “All I Need.” The speaker laments: “I’m an animal / trapped in your hot car.” We’ve all been there, right folks? Fortunately, several tracks showcase Yorke’s true forte—statements on the human condition. The jarring structure of “Faust ARP” is haunting; it feels something like falling down a well in slow motion, on Loritab. Lines from songs such as “Reckoner” are deceptively simple, generating more depth with each repetition: “Because we separate / it ripples our reflections.” Yorke voices his postmodern angst in “Bodysnatchers”: “Has the light gone out for you? / Cause the light’s gone out for me / It is the 21st century.”
The bottom line: you can secure a copy of In Rainbows for free, so there’s really no point in stewing over whether or not it’s a justifiable purchase. GET IT.
I can’t say that In Rainbows will soar to the top of my proverbial Radiohead charts. The album offers flashes of brilliance, but carries its share of disappointing moments as well, such as this one: “You are all I need.” Maybe Radiohead nostalgia has skewed my perception, but I miss my abstract imagery and gritty melodies. -- Kilgore Trout
Listen:
MP3: Radiohead - Faust ARP
MP3: Radiohead - Reckoner
MP3: Radiohead - Videotape
Colin Meloy: Colin Meloy Sings Morrissey (2005)
Rarities
Portland indie band (or not so indie anymore) The Decemberists made their major label transition to Capitol Records a memorable one with the release of The Crane Wife in 2006. While many faithful fans were understandably worried about the change, lead singer Colin Meloy and company turned in an album of consistent quality rather than shifting towards mainstream sensibilities. It even managed to perform admirably in a commercial sense, especially considering the band's independent roots. Enriched by a sense of maritime storytelling and often-obscure references to historical events, The Decemberists' output has put them at the forefront of a new genre entitled "lit rock." While the band's songs remain thematically rich, the musical arrangements have grown epic in scope as well. Back in 2005, before the switch to Capitol and a few months before the release of Picaresque, lead singer Colin Meloy embarked on his first solo tour, and an EP of Meloy doing acoustic covers of Morrissey songs was available exclusively at his shows. Here are a few tracks from the limited EP. -- Capt. Obvious
Listen:
MP3: Colin Meloy - Jack The Ripper
MP3: Colin Meloy - Every Day Is Like Sunday
10.10.2007
Eddie Vedder: Into The Wild Soundtrack (2007)
New Wax
Into The Wild is the motion picture adaptation of Jon Krakuer's novel of the same name, which tells the story of Christopher McCandless, a young man and recent graduate of the prestigious Emory University who abandons his worldly possessions, donates his $24,000 savings account to charity, and hitchhikes into the vast wilderness of Alaska. He was later found dead of starvation in an abandoned bus in the woods. These events took place in the grunge-dominated early 90's, and not too long after the release of Pearl Jam's groundbreaking debut album Ten. It makes sense that Pearl Jam's seminal lead singer Eddie Vedder would make his first solo undertaking the soundtrack for a man's lonely journey into an unforgiving wilderness. An integral figure in the early 90's, Vedder seems to embody the same sentiments of anti-materialism that fueled McCandless's admirable yet naive idealism. That being said, while Vedder shuns the emptiness of materialism on tracks like "Rise" and "Society," songs like "Hard Sun" and "The Wolf" are rooted in respect for the harsh reality of nature. Musically, Vedder veers away from his material with Pearl Jam, relying more on simplistic folk songs built on acoustic guitars and banjos. He's joined by former Sleater-Kinney member Corin Tucker on a few tracks which are undoubtedly enriched by her presence. As far as vocally, Vedder's deeply earthy voice is at home within the folksy jangle of the songs, making Into The Wild a more than worthy solo debut. Let's hope Vedder has a lot more where this came from. Highly recommended. -- Capt. Obvious
Listen:
MP3: Eddie Vedder - Rise
MP3: Eddie Vedder - Society
Iron & Wine: Passing Afternoon EP (2004)
Rarities
When cinema-studies professor Sam Beam, a.k.a. Iron & Wine, sent off his home-recorded acoustic folk demos to the almighty Sub Pop Records, I doubt he had any sort of grasp on the kind of celebrity he'd ultimately obtain. Sub Pop thought highly enough of the songs to release the tracks in their original form as the effectively sparse The Creek Drank The Cradle. While Beam received widespread praise for his Southern storytelling, it was his 2004 release of his opus Our Endless Numbered Days that prompted whispers of "songwriting genius." Thanks in addition to an intimate cover of the Postal Service's "Such Great Heights," which appeared on the uber-popular Garden State soundtrack, Beam had become the posterboy for a burgeoning singer/songwriter genre. With his newfound success, Beam released the more experimental Woman King EP along with a collaborative EP with southwestern heroes Calexico. With this year's The Shepherd's Dog, Beam has cemented himself as a truly gifted and ever-evolving songwriter.
In 2004, a single for "Passing Afternoon" was released and it contained a few bonus tracks, including the sublime "Communion Cups & Someone's Coat" and a live version of "Dearest Forsaken." -- Capt. Obvious
Listen:
MP3: Iron & Wine - Communion Cups & Someone's Coat
MP3: Iron & Wine - Dearest Forsaken (Live)
10.09.2007
Untied States: Bye Bye Bi-Polar/These Dead Birds 7" (2007)
New Wax
I collect records, so the Christmas-like feeling of receiving new music in my mailbox was enhanced moreso today because it arrived on vinyl. Atlanta's Untied States sent me their new limited edition 7", which includes the song "Bye Bye Bi-Polar" along with b-side "These Dead Birds." The release bridges the gap between their 2006 release "Retail Detail" and a new full-length which is in the works. The band's sound is the aural equivalent of serenely hurdling through the air towards space only to have your shuttle explode at the maximum point of dynamic pressure. "Bye Bye Polar" is a schizophrenic tour-de-force that opens with a minute and a half of hypnotic guitar that would be a fitting backdrop to a student-film dream-sequence, then it changes time signature and drops out into a manic blend of noise and affected unhinged vocals. There's a strange patchwork of instrumentation at work here, but the moments of seemingly random chaos actually maintain a sense of structure that keeps the songs from ever becoming unfocused insanity. "These Dead Birds" may be tamer than "Bye Bye," but it contains a foreboding sense of uneasiness in its melodic ferocity. In essence, it plays the more cautious yet equally dangerous grizzly bear to "Bye Bye's" unpredictable Siberian tiger. Tapping into an otherworldly realm of visceral energy, Untied States somehow manages to mix elements of beauty and brutality into mid-tempo song structures. The tracks on this record ultimately play like the soundtrack to an intense nightmare... one that's so grandly surreal that you strangely hope it never ends. If this 7" is any sort of precursor to the band's upcoming release, then we can surely expect an onslaught of brilliant weirdness. Here's a track off their 2006 album Retail Detail. -- Capt. Obvious
Listen:
MP3: Untied States - It's Not Goodbye
10.08.2007
Rogue Wave: Asleep At Heaven's Gate (2007)
New Wax
Under Sub Pop Records, Oakland indie-rock outfit Rogue Wave released two strong albums with 2003's Out Of The Shadow and 2005's Descended Like Vultures. For their new release, Asleep At Heaven's Gate (props for the clever album name), the band finds itself on Brushfire Records, which is owned by Jack Johnson. Let me just admit that I'm holding back magnificently from cracking a derogatory Jack Johnson joke, but I'll restrain myself from offending any of his adoring fans. Besides, My Morning Jacket is on Dave Matthews' record label ATO, so who am I to judge? Produced by Roger Moutenot, who is known for his work with indie mainstays Yo La Tengo, Asleep At Heaven's Gate is a perfect example of too much of a good thing. The songs unfold densely, with dream-like production and layered, effects-heavy vocals from lead singer Zach Rogue. There's a level of grandiosity on the album that is both unneeded and ineffective. The catchy hooks of Descended Like Vultures aren't as readily apparent on Heaven's Gate, and it lacks the intimacy of the band's debut. While there are decent songs on the album, with tracks like "Lake Michigan" and "Chicago x12" serving as worthy examples, the band's admirable skill-set doesn't transfer to any sort of cohesiveness. Asleep At Heaven's Gate plays as overlong and straddles the uncomfortable line of pretentiousness. The songs overindulge in glossy production rather than honing the most important ingredient, the song itself. Many of the tracks overstay their welcome, clocking in at over 5 minutes long, and it almost becomes a chore making it through the entire album. There's nothing wrong with ambition, but Rogue Wave would be better off scaling their songs back and doing away with so much production glamor. -- Capt. Obvious
Listen:
MP3: Rogue Wave - Like I Needed
MP3: Rogue Wave - Chicago x12
10.07.2007
Haruki Murakami: After Dark (2007)
The Bookshelf
Being that this is the first Murakami novel I've read in its entirety (I've a bad case of ADD when it comes to books), my observations come without any presumptions or expectations. I must admit though that I've heard After Dark described as Murakami-light, and detractors have called it thematically inferior to his previous works. While After Dark is relatively short at a brisk 208 pages, it's plot manages to weave together a variety of characters in a very Robert Altman sort of way, though perhaps with looser and more fragile thread. Taking place over the course of 7 hours from midnight to dawn in Tokyo, After Dark is a lonely work revolving around the desolation of modern life. Murakami's emphasizes the disconnect between humanity and modernism by often describing the reader's point of view as a camera angle. This adds a particular sense of surrealism to the work, but it also prevents the reader from being fully involved with the novel's characters. Perhaps this was Murakami's intent. Nonetheless, Murakami writes potently and his detailed words carry the ability to transport the reader to another realm of consciousness. Murakami's characters represent the disillusionment of the younger generation, which paints the author as sort of a postmodern version of Salinger. Still, After Dark is not without flaws. Murakami's prose is too cryptic at times, and he spends no time tying up loose ends or offering any sort of closure or explanation. In fact, we're left with an unsatisfying feeling by the end of the book, and we must rely wholly on our own assumptions and interpretations. Once again, it's probably Murakami's intent, but it detracts from the poignancy of the material and it leaves the story as seemingly underdeveloped. While After Dark is certainly readable and it presents some interesting themes, it ultimately comes off as an experimental and flawed piece from an important author. -- Capt. Obvious
Buy It:
Amazon: Haruki Murakami - After Dark
Tags:
10.06.2007
Mark Kozelek: Live At KEXP (2006)
Rarities
Mark Kozelek's voice could make "The Thong Song" sound hauntingly melancholic. Formerly of the criminally overlooked Red House Painters, Kozelek latest material consists predominantly of acoustic-based folk songs. With an obvious pension for cover songs, Kozelek has released an album of AC/DC covers under his own name (sounds strange but it works) as well as an album of Modest Mouse covers under the Sun Kil Moon moniker. While his covers are moving interpretations, Kozelek shines in his own material as well. Songs like "Michigan," which appears on the Red House Painters' Old Ramon, and the sublime Sun Kil Moon song "Carry Me Ohio" carry an emotional potency seldom paralleled by other songwriters. Having had the honor of seeing Mark perform live at the very classy Black Orchid in Chicago last year, I can confidently state that it was one of the most intimately moving sets I've experienced. Kozelek's finger-picked guitar riffs set the perfect backdrop for his moving vocals. His songs seem to shine when stripped down to their sparest form. Back in January of 2006, Mark visited KEXP in Seattle and played a 4-song live with nothing accompanying him but his acoustic guitar. Take a listen. You won't regret it. -- Capt. Obvious
Listen:
MP3: Mark Kozelek - Four Fingered Fisherman (Live Acoustic)
MP3: Mark Kozelek - Tiny Cities (Live Acoustic)
MP3: Mark Kozelek - Salvador Sanchez (Live Acoustic)
MP3: Mark Kozelek - Bubble (Live Acoustic)
10.05.2007
Randi Russo: Shout Like A Lady (2006)
New Wax
I'm pretty particular when it comes to female vocalists, so it's always nice to add another voice to my short list, which is occupied by the likes of Chan Marshall, Patty Griffin, and Neko Case. There's enough room on that list for New York's Randi Russo and considering the weathered familiarity of Randi's voice, it's fitting that she's been compared to Patti Smith. A southpaw yielding an upside-down backwards right-handed guitar, Russo's guitar work is built on atypical chords and progressions. On the aptly titled Shout Like A Lady, Russo's songs fluctuate from gritty chord-driven rock songs to more delicate yet eerily atmospheric folk songs. This juxtaposition of dirty and delicate is represented nicely with the first two tracks on the album, "Release Me" and "Shout Like A Lady." While "Release Me" is a distorted strum-rocker, "Shout Like A Lady" is built on a simple acoustic guitar riff and sparsely placed slide guitar. Lyrically, Russo's words carry some heft. On the rocking "West Coast Girl," Russo growls about materialism, singing "Are you gonna go West Coast girl/ They got a lot of nice things in that world/ The big empty." Rather than being fashionably jaded, Russo's biting cynicism contains true depth. She mixes a variety of musical styles with keenly aware observations on the absurdness of societal expectations in grand fashion. With Shout Like A Lady, Russo has proven to be a commanding presence who could probably conquer the world wielding her quick wit and upside-down guitar. -- Capt. Obvious
Listen:
MP3: Randi Russo - Release Me
MP3: Randi Russo - Shout Like A Lady
10.04.2007
Foo Fighters: Echoes, Silence, Patience & Grace (2007)
New Wax
It’s hard to believe that it’s been twelve years since Dave Grohl wandered into Robert Lang’s Seattle studio and recorded the demos that would eventually become the Foo Fighters’ self-titled debut record. Since that time, Foo Fighters have been, arguably, the most successful rock band in the world, garnering acceptance from both persnickety audiophiles and mainstream critics alike. In an era when many successful bands are alienating their fan base by experimenting with different sounds, genres and styles, the Foo Fighters have remained amazingly consistent, doling out one quality rock album after another. The 2007 follow up to In Your Honor is no different. That’s right, bitches, Foo Fighters are back with Echoes, Silence, Patience & Grace. Deciding to call in The Colour and the Shape producer Gil Norton, Echoes is filled with the classic and straightforward rock and roll that Foo Fighters fans have grown accustomed to. The first single off of the album, “The Pretender” is the standard Foo recipe for success: growling vocals and driving guitar interspersed with rich melody and catchy hooks. There are some surprises on the album, however. No one really expects to find 2:33 of dueling acoustic guitar in the middle of a rock album, but the entirely instrumental "Ballad of the Beaconsfield Miners" is exactly that. There are also several piano driven tracks, including the beautifully composed “Home," which is mostly Grohl and a set of 88 ivory keys. The album ends on a dramatic note, however, with “Once and For All” delivering a final crescendo of kick-ass rock goodness. Although Echoes, Silence, Patience & Grace is not the band’s best album, Foo Fighters do deliver what they have been known for: consistency. -- Colonel Ambiguous
Listen:
MP3: Foo Fighters - The Pretender
Akron/Family: Love Is Simple (2007)
New Wax
Attention Hippie-types, you've just found your new favorite band. New York-based experimental folk band Akron/Family has released one of the most brilliantly peculiar albums I've experienced in quite some time. Love Is Simple is the band's newest contribution to the indie canon, and stylistically it draws from the "love is everything" mentality of the late 60's. There is a mixture of simplistic acoustic folk ditties along with grandiose drum-circle jams that eclipse the 7-minute mark. Some of the tracks are undoubtedly awkward and cynics will have their fair share of ammunition, but Love Is Simple is an album built on good intentions and positive energy. If anything, Akron/Family should be commended for opposing the jaded sentiments of today's culture, and doing so with such unabashed disregard for the consequences. On the opening track, "Love Love Love (Everyone)" the chorus plays like some sort of campfire sing-a-long, reading "Go out and love, love, love.. everyone." "I've Got Some Friends" is an upbeat folk-romp of musical hodgepodge that's undeniably catchy. The band's no-musical-limitations mentality may be a minor hindrance at times, and there are surely moments of unfocused chaos, but the core of Love Is Simple is so innocently positive that it's hard to be too critical. When a band has this much fun making music, it's pretty easy to get on board with them. -- Capt. Obvious
Listen:
MP3: Akron/Family - Phenomena
MP3: Akron/Family - Ed Is A Portal
