The Lucky 13 Mixtape

This was incredibly tough to put together considering all the great music that came out this year. Each song is from one of my 13 favorite albums of 2007, and the songs go in descending order from 13 to 1 (effectively ranking the albums). I had to leave off a lot of albums that I really enjoyed: Great Lake Swimmers' Ongiara, Rocky Votolato's The Brag & Cuss, The Twilight Sad's Fourteen Autumns, Band of Horses' Cease to Begin, Bright Eyes' Cassadaga, Iron & Wine's Shepherd's Dog, Modest Mouse's We Were Dead Before The Ship Even Sank, The Avett Brothers' Emotionalism, the Two Gallants self-titled album, Wintersleep's Welcome To The Night Sky, Josh Ritter's The Historical Conquests, Oakley Hall's I'll Follow You, Phosphorescent's Pride, Radiohead's In Rainbows, Beirut's The Flying Club Cup... all of these albums got a lot of play in my iPod and could have easily made the list. Let's see some of your own top 13 lists in the comments section. Anyways, this is what I came up with:

13. Wilco - On And On And On
(from Sky Blue Sky)


12. Andrew Bird - Skythian Empires
(from Armchair Apocrypha)


11. Manchester Orchestra - I Can Barely Breathe
(from I'm Like A Virgin Losing A Child)


10. J. Tillman - Evans And Falls
(from Cancer And Delirium)


9. The Frames - When Your Mind's Made Up
(from The Cost)


8. The Wooden Sky - When Lost At Sea
(from When Lost At Sea)


7. The Felice Brothers - Your Belly In My Arms
(from Tonight At The Arizona)


6. Fionn Regan - Black Water Child
(from The End Of History)


5. Okkervil River - Unless It's Kicks
(from The Stage Names)


4. Arcade Fire - Intervention
(from Neon Bible)


3. The National - Green Gloves
(from Boxer)


2. A.A. Bondy - Rapture (Sweet Rapture)
(from American Hearts)


1. Bon Iver - Skinny Love
(from For Emma, Forever Ago)

Tags: Mixtapes, Captain Obvious, Top Albums, Captain Obvious Mixtape

Denison Witmer: Are You A Sleeper EP (2006)

Rarities


Denison Witmer is sort of like the Tim Duncan of singer/songwriters.. fundamentally sound, disciplined, and predictably good. I'd probably rather watch Denison Witmer play basketball than Tim Duncan though, so they obviously don't have the boring-factor in common. While Witmer may not exhibit the flash of other songwriters, he consistently releases quality material and has been doing so since 1995. The Pennsylvanian has put together a respectable catalog which includes five LP's, a cover album, and two EP's. His 2005 album, Are You A Dreamer, was produced by Don Peris of The Innocence Mission and features some instrumentation from indie wunderkind Sufjan Stevens. In 2006, Witmer released an EP of alternate versions and b-sides entitled Are You A Sleeper?, which contained a great acoustic version of "Little Flowers" and a reworking of "Are You A Dreamer," both of which appeared on the 2005 album of the same name. -- Capt. Obvious

Listen:
MP3: Denison Witmer - Are You A Sleeper?
MP3: Denison Witmer - Little Flowers (Acoustic)

Tags: Denison Witmer, Are You A Sleeper, Rarities

November Mixtape

SIDE A
1. Why? - The Hollows
2. Chris Walla - Sing Again
3. Nada Surf - See These Bones
4. Bell - Brown Bear
5. Cass McCombs - That's That
6. Bright Eyes - Coat Check Dream Song (Live)
7. Kevin Drew - Tbtf

SIDE B
1. Jason Collett - Out Of Time
2. Bottom Of The Hudson - Bee Hive
3. Tulsa - Shaker
4. Octoberman - Chasing Ambulances
5. Handsome Furs - What We Had
6. Bodies Of Water - I Guess I'll Forget I Guess, I Guess
7. Tim Williams - Novel

Tags: Mixtapes, Mixtape, November Mixtape, Captain Obvious

Mum: Go Go Smear The Poison Ivy (2007)

New Wax


Those crazy Icelanders are at it again. In Go Go Smear the Poison Ivy, their latest release since 2004’s Summer Make Good, Múm boast the most refined postrock blend of electronica and offbeat instrumentation of their career. Go Go opens with “Blessed Brambles,” perhaps one of Múm’s most driving and [dare I say?] catchy numbers. This first track sets the mood for a somewhat more accessible, somewhat bouncier Múm engagement. Summer Make Good emphasized the fragile, often terrifying vocal presence of singer Kristín Anna Valtysdóttir. This album seemed to exult in its own stark, brooding juices—no wonder since it was composed at a remote lighthouse in Iceland. Many critics bemoaned the record’s inscrutability—it’s the sort of album that leaves a very nebulous impression on the listener, if it leaves an impression at all. In addition, Valtysdóttir’s vocals were taxing for many listeners [It was only during a more recent listening to the album that I realized she’s singing in English most of the time…]

You’ll probably experience no such distress with Go Go Smear the Poison Ivy. In general, the vocals are more celebratory and lucid, with founding members Gunnar Örn Tynes and Örvar Þóreyjarson Smárason sharing duties. Apparently one of those duties was to clean out the nearest elementary school music closet, because Múm pulls in most instruments known to the Western world, from accordions to xylophones to classic glitchy Múm electronica. As always, Múm’s dynamic range is impressive, if not schizophrenic. “Blessed Brambles,” and “Moon Pulls” are both excellent tracks, though for entirely different reasons. The first plays like a Thoreau poem on Prozac and/or acid, while “Moon Pulls” evokes a synthesis of Radiohead and fellow Icelanders Sigur Rós. Perhaps this is exactly what makes Múm so fascinating: tracks like “Marmalade Fires” seem to convey a simultaneous sense of profundity and absurdity. Go Go Smear the Poison Ivy stands testament to a somewhat more streamlined Múm, but don’t worry about the group “going corporate.” All it takes is a cursory study of the lyrics to see that they’re just as eccentric as ever: “Let's, let's kiss the boys who pee in mud.” Sure. Why not? -- Kilgore Trout

Listen:
MP3: Mum - Blessed Brambles
MP3: Mum - Dancing Behind My Eyelids

Tags: Mum, Go Go Smear The Poison Ivy, Review, Captain Obvious

Before The Devil Knows You're Dead (2007)

Celluloid

With an extensive resume of films which includes classics like 12 Angry Men, Network, Dog Day Afternoon, and Serpico, 83-year old Sidney Lumet has cemented his place in film history as a titan. With his new film Before The Devil Knows You're Dead, Lumet once again displays his knack for ensemble casts and difficult character studies. The film tells the tale of two brothers, Andy (Philip Seymour Hoffman) and Hank (Ethan Hawke), who join forces and scheme a plot for the seemingly perfect robbery. Andy is a successful (outwardly, at least) real estate worker with a trophy wife named Gina (Marisa Tomei) while Hank is his underachieving younger brother who owes child support. Andy hatches all the details and convinces Hank to execute a robbery of a mom-and-pop jewelry store (and I literally mean mom-and-pop, as in THEIR mother and father's jewelry store). In grand Lumet fashion, the duo's dreams of future financial stability is thwarted when Hank screws everything up royally and all hell breaks loose. Saw that coming. While the film is one-part heist film, most of its emotional heft is found in the dysfunctional family at the core of the story. As is usually the case, outward appearances are wildly deceiving, and by the end of the film you're not rooting for anyone at all... I call it the Closer effect. While the film contains solid performances all-around, most of the characters in this interweaving story are rotten at their core. It's a depressing and frightening look at what we are capable of as human beings. The truly scary thing is that the story isn't far-fetched in the least. Things this f*cked up happen all the time. -- Capt. Obvious

Verdict:

Tags: Sidney Lumet, Before The Devil Knows You're Dead, Philip Seymour Hoffman, Ethan Hawke

No Country For Old Men (2007)

Celluloid

So it's finally happened. The first film to recieve my full endorsement as a near-perfect if not flawless film is the Coen Brothers' new masterpiece No Country For Old Men. Those viewers incapable of comprehending the deep-flowing thematic undertones of the film will undoubtedly sell the film short as a standard-issue suspense. Detractors will probably complain about the ambiguous ending (which stays true to the Cormac McCarthy novel that the film is based on), but as far as I'm concerned this is one of the best films I've seen in years. Not only is the film the best release from a duo of limitlessly talented brothers with an impressive catalog that includes classics like Fargo and The Big Lebowski, it is hands-down the best film of the year. Spanish actor Javier Bardem turns in one of the most chilling performances in recent memory as Anton Chigurh, a cold blooded murderer whose main objective is to track down a man named Llewelyn Moss (Josh Brolin) and reclaim the large sum of money that Moss happened upon in the Texas desert. Brolin shines in the role as a man paying the dire consequences for an important moral decision, and Tommy Lee Jones is his usual brilliant self as the retiring sheriff overmatched by the overwhelming evil in the world (I challenge you to name anyone better-suited for the modern day western than Jones). While it contains many artistic allusions to previous Coen Brothers films, No Country For Old Men is arguably the most effective film in the duo's repertoire. It's breathtakingly violent, suspenseful, darkly humurous, and it's ultimately a musing on the most prominent battle in the hearts of men. Good vs. Evil. -- Capt. Obvious

Verdict:

Tags: No Country For Old Men, Coen Brothers, Javier Bardem, Tommy Lee Jones

Bonnie Prince Billy: Ask Forgiveness EP (2007)

New Wax


I wasn't as keenly aware of the popularity of cover songs until I started this blog. Luckily for Will Oldham fans and cover fans alike, the famed folk singer and part-time actor (Old Joy wasn't bad at all) is back under his Bonnie 'Prince' Billy moniker with an EP chalk-full of covers. Oldham tackles a variety of artists including Bjork, Danzig, Merle Haggard, Sinatra, and R. Kelly. Yes, you read that correctly. R. Kelly. With a hilarious interpretation of "Ignition" floating around cyberspace, this actually wouldn't be the first time Oldham covered the R&B singer/urine enthusiast. With such a recognizable and distinguished voice, Oldham's covers barely carry any semblance to their original versions. It's amazing how the lyrics of some of the songs shine under the magical sparseness of Oldham's folk aesthetic. It's easy to forget that Oldham didn't originally pen these songs. Amongst the seven cover songs theres also an original song spliced into the collection entitled "I'm Loving The Street." Other highlights include "Am I Demon" and "The World's Greatest." A definite must-have for Oldham fans and folk fans alike. -- Capt. Obvious

Listen:
MP3: Bonnie Prince Billy - I'm Loving The Street
MP3: Bonnie Prince Billy - The World's Greatest (R. Kelly Cover)

Tags: Bonnie Prince Billy, Will Oldham, Ask Forgiveness EP, Review

Zookeeper: Becoming All Things (2007)

New Wax


Considering how much I enjoyed Chris Simpson's work with short-lived Texas emo band Mineral and the more indie-rock oriented Gloria Record, I was excited when I heard that Chris had new material available under the moniker Zookeeper. After repeated listens of the new album Becoming All Things, I must say that I've had a very difficult time digesting the material and formulating a well-informed opinion. This time around Simpson's output is pop-infused indie rock accentuated with a jangly mix of pianos, acoustic guitars, harmonicas, and horns. Considering how ferociously the music-blog community has embraced the album as an indie-gem, I approached the album fully expecting to fall in love with it. I must lend my honest opinion and conclude with the following: It's not bad, definitely has its share of strong moments.. but overall it isn't as striking as I had hoped. Simpson's unconventional voice takes a little getting used to but I really grew to appreciate its heartfelt emotion in the context of his previous bands. While the lyrical content on Becoming All Things is as compelling as anything Simpson has done, I'm not entirely convinced that the musical arrangements on the album are dynamic enough to sustain the long track-lengths. Seven out of the ten tracks on the album clock in at over five and a half minutes, with three songs exceeding seven minutes. I have nothing against long songs ("Trapeze Swinger" anyone?), but I really felt like a lot of the tracks were too drawn out and could have been whittled down and sharpened. There are also times on the album when the elemental makeup of songs seemed like overkill. It was as if stacking another layer onto the song became more important than focusing on the integrity of the music. I thought the moments that were more stripped down on songs like "Boy & The Street Choir" and "On High" were the most effective. Simpson's words carry the most weight when set against a simple guitar strum and some sparse piano. I'm definitely curious to see what Simpson comes up with as Zookeeper in the future and am glad that the project has been well received... but on a personal level, I'm admittedly still on the fence. -- Capt. Obvious

Listen:
MP3: Zookeeper - Trumpets
MP3: Zookeeper - On High

Tags: Zookeeper, Becoming All Things, Chris Simpson, Reviews

Interview: Bon Iver

Conducted by Capt. Obvious


Obvious: For Emma, Forever Ago is absolutely stunning, and you recorded it from the isolation of a Wisconsin cabin. I think the sparse production suits the album perfectly. What drove you to escape to the cabin and what sort of setup were you working with during the recording process?

Bon Iver: Well, I went up there, because I absolutely needed it. Things had been chasing me, and I had been chasing too far from the things that I wanted in my life, in my cradle, my mind. I got up there to the space and the peace, the silence, and felt as if those voices you hear in your head had much more time to work themselves out. They aren't distracted by the doorbell, the phone, or your roommate walking in. You get to hear them out. I unraveled up there. I unraveled a lot of shit - from a long, long time..

I had a very light set-up, a basic small recording set-up: an Sm57 and an old Silvertone guitar. I had my brother drop off his old drums... some other small things - things I would make or find lying around.

Obvious: The album garnered a lot of favorable attention considering you self-released it, and now you've landed a record deal with a very respectable label in Jagjaguwar. Were you expecting so many good things to happen after you finished the album, and how have you dealt with all the newfound attention?

Bon Iver: No. I still don't expect anything to happen. I feel so fortunate. So lucky. In so many ways. But if it just petered out tomorrow, I'm too small-town of a person, I feel, to feel bad if I just disappeared. I've already received so many letters and such, enough for a lifetime of artistic fulfillment...I can't even measure it.

I knew that when I finished making these songs up there, that I had done something that was more current and pure and honest than anything I had done to that point. I thought it was special in that way. The fact that others seem to understand, from different places all over the world... makes me feel ...well, like something good is happening in general.

Obvious: Your lyrics carry a lot of weight, but in a vague and subconscious way rather than being blatantly thematic. How did you pull off such a personal album without divulging any overtly personal secrets?

Bon Iver: Well, I think I'm a pretty overt emotional person, and I think I get addicted to emotion and emotional context. So, if I have an idea... I usually am too quick to get to the point if I go in the conscious way. I usually set the song up, go in and try and get lost somehow.... in it, in sounds, and vocal shapes... And, I usually end up extracting some kind of lyrical idea, that is more folded and obscure but somehow gives ME even more meaning to what I am feeling about a subject. I really actually learn a lot about myself writing in that way.

Obvious: While your music exhibits an undeniable folk aesthetic, I swear you have the voice of a soul singer. You don't have any old Marvin Gaye and Al Green records laying around, do you?

Bon Iver: Well, man, thank you. I am into more black singers than white, lets just put it that way. I'm not into Al Green, not for any reason... But, I like Marvin, and most of all...I'm into Sam Cooke, Mahalia Jackson, Nina Simone, Prince, D'angelo. Too much pain in those voices to ignore - even some live Otis Redding shit.

Obvious: I read that you ate a lot of venison while you were in Wisconsin. Have any special recipes?

Bon Iver: Venison tenderloin medallions. Fresh. The real fresh way. It's the only way to reward yourself after a long day of hunting. If you just toss those in some butter over the cook stove you will never eat anything ever again that tastes that amazing. That's it.

I actually eat a lot of grits with venison strips tossed in.

Obvious: I heard you were a basketball fan. Who's your pick to win the NBA Championship this year? (I'm going with the Celtics)

Bon Iver: Oh man. Celtics. Love KG, love Ray Allen. unselfish AND astonishing. The best kind. I really am a fan of the Phoenix Suns. I love Marion, Nash and Stoudemire. I think they may be better than the Celtic big three.

I don't hate Tim Duncan, or anyone on that Spurs squad... but damn, I get bored watching them play.

I really love Dwyane Wade, can't say much about the Heat though. AND, I love Lebron, but they need Boozer back or somebody that brings a spark in the paint before they win it this year.

I have to say the Mavs will win it all. That's my guess.


Myspace: http://www.myspace.com/boniver

Listen:
MP3: Bon Iver - Skinny Love

Tags: Bon Iver, For Emma Forever Ago, Interview, Captain Obvious

Days Of Heaven (1978)

Films Revisited


The enigmatic Terrence Malick has always been considered a master of film as a visual medium. The sweeping landscapes and stunning images in his films seem more like paintings than frames of celluloid. Those who criticize Malick point to a certain detachment from the characters in his films, and his choice to often intersperse scenes of animals and nature with observational shots of humans tends to lend to this notion. Taken purely for its merit in the realm of cinematography, Malick's 1978 film Days Of Heaven is easily one of the most beautiful films ever shot. I'd also argue that the story at the core of the film is criminally underrated as well. Set during the years preluding the first World War, Days Of Heaven tells the story of Bill (Richard Gere), his kid sister Linda (Linda Manz), and his lover Abby (Brooke Adams). After killing a steel mill foreman during a fight in Chicago, Bill flees to Texas with his lover and sister in tow. The three secure temporary jobs during the harvest season as laborers on a wheat field owned by a wealthy yet terminally ill farmer (Sam Shepard). Nobody knows Bill and Abby are lovers because they tell everyone that they are brother and sister, and after the farmer falls in love with Abby, Bill convinces her to marry the farmer for his money since he "has one foot on a banana peel and the other in a roller skate." Of course, the farmer becomes suspicious of Bill and Abby's unusual closeness, and ultimately there is an eruption of jealousy and violence. It's the archetypal love triangle told in the painterly visual orgy that is Malick's recognizable style. Malick's preference for poetic stream-of-consciousness voice-over is also at play as much of the film's wondrous imagery is accompanied by Linda's emotionless yet haunting words. Ultimately the film displays Malick's understanding for his characters rather than a cold detachment. It is the characters themselves who are cold and detached, not because they are hollow, but because they deal with their grief and sorrow by building up walls rather than displaying them outwardly. Malick's meticulous examination of the human condition is as beautiful as the haunting images that grace his films. -- Capt. Obvious

Tags: Days Of Heaven, Terrence Malick, Richard Gere, Sam Shepard

Built To Spill: Keep It Like A Secret (1999)

Albums Revisited


Not only has it become an old stand-by in my ever-expanding music collection, but I'd argue that Built To Spill's 1999 opus Keep It Like A Secret is one of the best indie albums of the last decade. Let's not tussle about the semantics of what or what isn't indie (yes, I know the album was released on a major label in Warner Bros). Let's just agree that Built to Spill has always upheld the aesthetic of an indie band. Formed in 1992 by lead singer/guitarist Doug Martsch, the Idaho band has undergone a whirlwind of lineup changes for almost every release, but they've managed to cement their spot in the canon of influential bands. Ben Gibbard of Death Cab for Cutie and Isaac Brock of Modest Mouse both point to Built To Spill as an important influence. At the basis of any Built To Spill song is Martsch's virtuoso guitar-playing. His catchy guitar riffs and hooks intermingle with his nasally voice to create a sound that is both original and instantly recognizable. Keep It Like A Secret compacts the band's considerable talent into perfect indie songs while doing away with the excessive song-lengths of their acclaimed 1997 release Perfect From Now On. "The Plan" opens the album nicely and is a great precursor for the rest of the album considering its reverb-heavy guitar riffs and Martsch's always-captivating vocals. The album's highlight will always be the infinitely re-playable "Carry The Zero," which at almost 6 minutes long somehow still manages to feel too short. -- Capt. Obvious

Listen:
MP3: Built To Spill - The Plan
MP3: Built To Spill - Carry The Zero

Tags: Built To Spill, Keep It Like A Secret, Doug Martsch, Captain Obvious

Captain Obvious Nominated? Weird.

You Should Know


I've been informed that our shabby little blog has been nominated in the Best Music Blog Contest run by Billboard.com and Nielson.com. While I've resigned myself to the reality of being handily defeated by fellow nominees and music blog juggernauts such as Aquarium Drunkard and Stereogum, it was still a pleasant surprise to be nominated. So thanks to whoever nominated us and thanks to everybody who has ever stopped by to read anything on the blog. We've only been around for a little more than 3 months, so any kind of recognition is met with sincere gratitude. So thanks again. If you'd like to cast a vote for Captain Obvious in the contest, you can click here to do so. -- Capt. Obvious

Tags: Captain Obvious, Billboard, Nielson, Best Music Blog Contest

Beaten Awake

You Should Know


With a name like Beaten Awake, you would expect the Kent,Ohio band to fit in nicely amongst the ranks of shitty Screamo/Hardcore bands. Fortunately, their folk-tinged brand of indie-rock doesn't live down to those expectations. The band uniquely features two primary songwriters and vocalists by the name of Joel McAdams and Jon Finley. I wouldn't quite say that McAdams is a dead-ringer for Lou Barlow of Dinosaur Jr. and Sebadoh fame, but I wouldn't be surprised if they were somehow related. While McAdams' songs boldly exhibit the lo-fi energy of bands like Pavement and the aforementioned Dinosaur Jr., Finley's songs are decidedly country-tinged and invoke visions of Jack Daniels shots and smoke-filled Southern dive bars. The band's debut album Let's Get Simplified was released last year on Audio Eagle Records, a wonderful little label which is owned and run by Patrick Carney of the Black Keys. Carney also lent his production expertise on Let's Get Simplified. While the album is solid from start to finish, "Ghost Bought A Bicycle"and "Browns Town" are highlights that represent the two songwriters' differing and distinct styles. -- Capt. Obvious

Listen:
MP3: Beaten Awake - Browns Town
MP3: Beaten Awake - Ghost Bought A Bicycle

Tags: Beaten Awake, Let's Get Simplified

American Gangster (2007)

Celluloid


At the core of Ridley Scott's American Gangster is the incredible story of Frank Lucas, an African American from North Carolina who rose above his Italian counterparts to drug-lord prominence in late-60's and early-70's Harlem. In interviews, Lucas claims he made up to a million dollars a day selling heroin on 116th Street. He amassed his fortune by finding a direct source in Vietnam which provided 98 percent pure heroin which he smuggled into the U.S. by using the coffins of dead soldiers. Along with a posse consisting of his immediate and extended family, Lucas controlled Harlem with a brand of heroin he dubbed "Blue Magic." A bad man, indeed. This sprawling biopic pits Lucas (played by the seminal Denzel Washington) against Richie Roberts (Russell Crowe), a straight-laced cop operating honestly in a sea of corruption. While there are scenes of extreme violence in the film, they are few and far between. At its core, American Gangster is a character study, and Washington succeeds magnificently in portraying Lucas as charming and likable yet brutal and calculating at the same time. Crowe's character is also morally complicated considering the duality between his honest-cop yet deadbeat-dad personas. The gray areas really make the film more intriguing, and both actors turn in their usual grade-A performances. That being said, the film is flawed and something was lacking in terms of plot-line. The story is so steadily paced that it really makes the film seem overlong at a whopping 2 hours and 37 minutes. The script for American Gangster probably could have been whittled down into something more impactful, but the acting in the film is strong enough to deservedly garner multiple Oscar nominations. -- Capt. Obvious

Verdict:

Tags: American Gangster, Ridley Scott, Denzel Washington, Russell Crowe

The Covers Mixtape III

SIDE A
1. Radiohead - Unravel (Bjork Cover)
2. Ben Kweller - Today (Smashing Pumpkins Cover)
3. Damien Rice - When Doves Cry (Prince Cover)
4. Fionn Regan - Getting Better (Beatles Cover)
5. Glen Hansard - Hungry For Your Love (Van Morrison Cover)
6. Hayden - Gouge Away (Pixies Cover)
7. Ian Ball - Breakfast In America (Supertramp Cover)
8. Ryan Adams - Always On My Mind (Willie Nelson Cover)

SIDE B
1. Ferraby Lionheart - Man On The Moon (R.E.M. Cover)
2. St. Vincent - These Days (Jackson Browne Cover)
3. Phosphorescent - You've Lost That Loving Feeling (Righteous Brothers Cover)
4. Jose Gonzalez - Teardrop (Massive Attack Cover)
5. Josh Ritter - The River (Bruce Springsteen Cover)
6. Okkervil River - Mellow My Mind (Neil Young Cover)
7. Ravens & Chimes - So Long, Marianne (Leonard Cohen Cover)
8. Jens Lekman - You Can Call Me Al (Paul Simon Cover)

Tags: Covers, Mixtape, Covers Mixtape, Captain Obvious

Interview: Jim Ward of Sparta

Conducted by Capt. Obvious


Obvious: What the hell is it like playing for Velvet Revolver crowds?

Ward: It is a challenge to try to win people over when the room is half-empty and you don't have a huge stage show, it is very honest and real rock and roll, a lot of the people there are fans of music and were open minded. It was a lot better than I thought it would be.

Obvious: I’m digging the new EP. There’s a strong undercurrent of homesickness on Quiet. Did you write the songs while you were on the road?

Ward: The songs came out of being on a long tour, so there was some homesick going on, but I wrote them when I got home.

Obvious: It sounds like you had some help on your EP. I know Maura Davis, formerly of Denali, sings on “Take It Back.” Who else contributed to the EP?

Ward: I put out a record for a guy named Ray Wallace who plays under the name Secret Life of Sparrows, he played harmonica and sang with me on "On My Way Back Home." Also, Chris Heinrich who plays guitar and pedal steel in my other band SleeperCar played ukulele on "Coastlines."

Obvious: Your EP is obviously very different from your work with Sparta, and your side project SleeperCar falls in the Alt. Country/Americana vein. As far as quieter stuff, do you have any major influences?

Ward: I like Gram Parsons, Ryan Adams, Wilco, Bob Dylan, Tom Petty... you know, the usuals.

Obvious: You actually run your own indie label, Civil Defense League. How has that been going?

Ward: It is an uphill battle, but I do it because I love it, so it is worth it. I am trying to get people to check out bands they have never heard of because I love them - www.civildefenseleague.net

Obvious: Honestly, do you get annoyed with all the interviewers who ask you about At the Drive-In?

Ward: Honestly... yes.


Myspace: http://www.myspace.com/jimwardquiet

Listen:
MP3: Jim Ward - On My Way Back Home Again
MP3: Jim Ward - Take It Back

Tags: Jim Ward, Sparta, Quiet EP, Interviews, Captain Obvious

Sunny Day Real Estate: In Circles Promo (1994)

Rarities


For those of you who actually come to this blog to read posts rather than just hijack music, you've probably noticed my affinity for folksy acoustic music. While I obviously enjoy the aforementioned genre, I feel I've misrepresented my tastes as being too one-dimensional. One of my other soft spots will always be for early emo music. There is something in its unbridled messiness and off-key singing that really appeals to me (I've probably listened to each Mineral album in excess of a thousand times). Formed in Seattle in 1992, the band Sunny Day Real Estate is widely considered one of early emo's founding fathers. Their 1994 debut Diary was released by Sub Pop to positive reviews. The band only managed a handful of releases, with the early material of Diary and Sunny Day Real Estate (ake the pink album or LP2) shining as their most accomplished work. Former band member Nate Mendel has played for Foo Fighters since 1995 and former lead singer Jeremy Enigk put out a decent solo album last year entitled The World Waits (his voice sounds way too perfect on it though). Back in 2002, the band reformed as The Fire Theft and they went on to release 2003's self-titled album (good stuff, recommended). As far as this installment of rarities, here is the radio edit of "In Circles" and the original version or "48," both songs appearing on a promo single of "In Circles." -- Capt. Obvious

Listen:
MP3: Sunny Day Real Estate - In Circles (Radio Edit)
MP3: Sunny Day Real Estate - 48 (Original Version)

Tags: Sunny Day Real Estate, In Circles EP, Rarities

Pete Yorn: Live From Vintage Vinyl EP (2005)

Rarities


The music snob in me really wants to hate Pete Yorn. I'm not sure exactly what it is, but he has all the makings of somebody I would hate: major label success, ridiculous hair, a rockstarrish air of cockiness, the ability to pull off the suit-jacket look flawlessly, and a history of playing shows with questionable bands (no offense to the Dave Matthews Band or the Dixie Chicks). Yorn actually got his break when film producer Bradley Thomas asked him to score the Me, Myself & Irene soundtrack for which he contributed "Strange Condition" and "Just Another." Those songs would ultimately find their way onto Yorn's official debut album, the memorable Musicforthemorningafter, which was released in 2001 on Columbia Records. Since his debut, Yorn has proven to be a consistent songwriter and a live performer with formidable stage presence. I actually got to hang out with Pete for a bit after a show in Alabama and while he is undoubtedly a rock-star, he was surprisingly approachable and down-to-earth. Not a prick, apparently. I'm sorry I judged you, Yorn. Here are a few songs from an in-store acoustic set Pete played in 2005 at Vintage Vinyl in St. Louis. Enjoy. -- Capt. Obvious

Listen:
MP3: Pete Yorn - The Man (Live Acoustic)
MP3: Pete Yorn - For Nancy (Live Acoustic)

Tags: Pete Yorn, Live From Vintage Vinyl, Rarities, Bootlegs

Ravens & Chimes: Reichenbach Falls (2007)

New Wax


Sometimes a band's debut album is the most unfiltered representation of their essence, and subsequent albums fail to live up to its initial energy. On Reichenbach Falls, Brooklyn's Ravens & Chimes creates an intriguing blend of folksy indie-pop that is both heartfelt and messy. At times they are vaguely reminiscent of Straylight Run, and lead singer Asher Lack's shaky voice sometimes fluctuates from soft-spoken to unhinged at the drop of a dime while female backing vocal accentuate the songs. Backed by a group of capable musicians who contribute sounds such as glockenspiel, harmonium, mandolin, and flute, Lack sets himself apart by exhibiting a keen command of the words he delivers. "This Is Where We Are" opens: "And if the waters rise up and drown up the whole city/ And the houses where we live are shimmering lights beneath/ Each of the waves bury beneath the name of a body somewhere below/ And to all the saints who drowned in the sea/ I am still here with you." It's the kind of material that offers endless possibilities as far as interpretation goes, and the band's rich sense of literalism really adds to the overall value of the album. An example of the band's bookishness lies in the very title: Reichenbach Falls is a literary reference the peak in the Swiss Alps where Sherlock Holmes allegedly fell to his death in 1891. Neat, huh? All in all, the album really shines upon repeat listens. It may seem semi-catchy yet ultimately forgettable at first, but there is a lot of thought and originality lurking underneath that indie-pop veneer. -- Capt. Obvious

Listen:
MP3: Ravens & Chimes - This Is Where We Are
MP3: Ravens & Chimes - January
Tags: Ravens & Chimes, Reichenbach Falls, Reviews

Be Here To Love Me (2004)

Films Revisited


Margaret Brown's documentary Be Here To Love Me contains a scene in which Townes Van Zandt brings an elderly man to tears with his acoustic rendition of "Waitin' Around To Die." The film chronicles the life of the late country-folk artist, whose haunting lyrics and acoustic guitar work influenced many singer/songwriters in the burgeoning folk genre. Like songwriters Elliott Smith and Nick Drake, Van Zandt had his share of demons. He was diagnosed as manic-depressive in his 20's, suffered memory loss due to shock treatment, and battled drug addiction and alcoholism until his death from heart failure in 1997. While Van Zandt never enjoyed the kind of mainstream success he deserved, he has become one of the most referenced songwriters of our time, and has been acknowledged by peers such as Willie Nelson and Bob Dylan while being cited as an influence by the likes of Jim James and Bright Eyes. Van Zandt was born into wealth, but he dropped out of school and turned his back on his family in order to pursue the uncertain life of a traveling musician. Brown's film masterfully intersperses serene shots of dusty roads and nature along with old interviews with Van Zandt. In those interviews, we catch glimpse of a man who was imperfect as a human but could express himself so wonderfully through music. Brown's documentary is a masterfully crafted and moving account of a flawed genius. Its soundtrack is also a great starting place for those curious about Van Zandt's music. -- Capt. Obvious

Listen:
MP3: Townes Van Zandt - Waitin' Around To Die
MP3: Townes Van Zandt - Tecumseh Valley

Tags: Townes Van Zandt, Be Here To Love Me

Modest Mouse: Ocean Breathes Salty Single (2004)

Rarities


I'm always perplexed as to what music becomes commercially viable. Modest Mouse was a decidedly independent act for a good 10 years before their single "Float On" catapulted them into the mainstream spotlight. Sure, their album The Lonesome Crowded West is commonly sited as a defining moment in 90's indie rock, and it was good enough to secure the band a deal with Epic Records, but it wasn't until the release of 2004's Good News for People Who Love Bad News that the band was propelled into the realm of platinum success. The band's 2007 release, We Were Dead Before The Ship Even Sank saw the edition of legendary Smiths guitarist Johnny Marr and it cemented their place as a popular band with actual artistic merit (go figure). It'd be a downright shame for casual Modest Mouse fans to overlook the brilliant weirdness of their earlier material, so do yourself a favor and delve into their extensive back catalog. As for today's installation of rarities, here are some live studio versions of "Float On" and "Ocean Breathes Salty" found on the single release of the latter song. -- Capt. Obvious

Listen:
MP3: Modest Mouse - Float On (Live Studio Session)
MP3: Modest Mouse - Ocean Breathes Salty (Live Studio Session)

Tags: Modest Mouse, Rarities, Ocean Breathes Salty

Chris Bathgate: A Cork Tale Wake (2007)

New Wax


Ann Arbor, Michigan's Chris Bathgate is at the forefront of of his local folk scene, and after self-releasing two albums, Chris has teamed up with Michigan-based Quite Scientific Records to release the mesmerizing A Cork Tale Wake. With such an overabundance of quality singer/songwriter material out there, it pains me to think that a lot of great albums remain unheard. I feel lucky to have found A Cork Tale Wake. While many of Bathgate's songs are built on simple folk characteristics, they are enhanced greatly by a playfully creative sense of arrangement. Songs range from simple acoustic songs to horn-laden walls of distorted sound. Sometimes the metamorphosis occurs in the confines of one song, with easygoing folk strums fluctuating into aural grandness. On "A Flash of Light Followed By," Bathgate's verses are laid on top of a bluesy acoustic guitar riff, but as his words trickle off we are bombarded by an intermingled chorus of horns and white noise. Bathgate's voice is oddly familiar but isn't blatantly reminiscent of anyone in particular. With hushed words that provide the perfect accompaniment to his adventurous arrangements, Bathgate's A Cork Tale Wake puts him on the map as a considerable talent. -- Capt. Obvious

Listen:
MP3: Chris Bathgate - Serpentine
MP3: Chris Bathgate - A Flash Of Light Followed By

Tags: Chris Bathgate, A Cork Tale Wake, Reviews

Interview: Deer Tick

Conducted by Capt. Obvious


Obvious: Your songs are wise well beyond your 21 years. Your music sounds well-traveled and world-weary. What experiences do you think have shaped your music the most?

Deer Tick: Traveling, romance and the lack thereof, some very personal medical issues, troubling bouts with faith, newly found love of non-faith, being molested when I was in high school, drug usage, psychiatrists, and while I love my dad and he's probably my proudest fan and a huge supporter, not getting to spend a lot of time with him when I feel I needed him the most. That really hurt me. But he did what he had to do. We had some disastrous family stuff that began about the time I turned 10 between my family's house fire and multiple deaths. The family stuff is ongoing, now its mostly financial stuff. My relationship with my dad during those turbulent times is just the reality of being a human being. I can't be bitter or angry now, but that feeling of hurt is something that haunts me along with every other time I've been hurt. I'm not trash talking my dad, he's a fucking great guy. Maybe it's the mismanagement of my feelings that I draw the most inspiration from. Oh yeah, and I'm a hopeless romantic.

Obvious: On your website you list Bob Dylan as a "Non-Influence." Do you think critics overdo it with the Dylan comparison for just about anybody who plays folk-inspired music and has a scratchy voice?

Deer Tick: I don't think I read enough music journalism. I find it kind of funny that I get so many Dylan comparisons though. Since I've listed Dylan as a non-influence a lot of my friends are trying to really turn me on to him. It's been good. I like him. Maybe the next album will be legitimately Dylan influenced... at least where production is concerned. I've already written all the songs before listening to Dylan...

Obvious: I thought the Pitchfork rating of your record was bullshit. Were you disappointed, and how much stock to you put in critics' opinions?

Deer Tick: I did read the Pitchfork review and wrote a response on my website, deertickmusic.com - I'm pretty open with my opinion that Pitchfork is a bunch of bullshit. I'm only disappointed because its considered such a definitive source of music news to many, lets say, easily swayed people. I don't mind a bad review, but that shit is just slanderous and was read by probably thousands and thousands of people who now think I'm the 4th Hanson brother or something. I said at a show in Chapel Hill the day the review came out that I have a real hard-on at the thought of that reviewers computer frying. I stand by that piece of on-stage banter. I've gotten a lot of support from fans and peers saying "don't worry about it" etc. I'm recovering; realizing that just about everybody already knows that Pitchfork is a steaming pile of shit.

Obvious: I see that you've been touring with Castanets, how's that tour going?

Deer Tick: It's been going good I guess. We've had a nice balance of really weird experiences and really good ones. We just got denied from crossing into Canada. What a big fucking waste of time and gasoline. So now, we're missing two shows. That sucks... work visa shit. But, all in all its been a lot of fun hanging with Ray and Jesse. We're all in the van and being a bunch of dudes. I was kind of pissed that I missed the World Series, but I was happy to hear that the Red Sox won! I got the MLB.com text message game updates. I think I'm getting off the topic. So... Tour with Castanets = Good

Obvious: You wouldn't think of Providence as a hotbed for indie music, but there are some great Rhode Island bands. Any Rhode Island bands you'd like to recommend?

Deer Tick: Oh yeah, totally. Chris Paddock, Diego Perez, Josh Carrigan, Vio/Mire, Liz Isenberg, Alec K. Redfearn and the Eyesores, The Body, Lazy Magnet (new album is fucking AWESOME), Sage Francis, The Wrong Reasons, Black Pus, Wizardzz, Manbeard, there's so many good bands. Two awesome PVD labels: LOAD and Corleone, check em out.

Obvious: Deer ticks have a two-year life cycle. What would you do if you only had two years to live?

Deer Tick: I'd like to be a tourist for once and not 'on tour'. See the pyramids or something. I'd go to Greenland for sure. Japan. The final week would probably be an opiate bender. I quit vegetarianism about a year ago so I'd like to eat tripe... I'll probably do that like next week though. I'd get my motorcycle license too and ride to Alaska or something. I'd grow a beard. I'd get a tattoo on my penis. I'd get fitted for a nice canary yellow suit, like something out of Casino, to be buried in. I'd let my friends and family know, and I'd probably try to take them with me. Make some poisoned Kool-Aid and promise them salvation. All as a final sick joke. Just kidding.

As a side note, I did make a list of things to do before I die and one of the things on my list has been completed: Something I draw gets tattooed on somebody. My friend Travis in Boise has a drawing I did of an elephant tattooed on him.


Myspace: http://www.myspace.com/deertick

Listen:
MP3: Deer Tick - Diamond Rings 2007

Tags: Deer Tick, John McCauley, War Elephant

I'm Not There: Original Soundtrack (2007)

New Wax


Hey hipsters, it's your birthday. The soundtrack to Todd Haynes' experimental new film I'm Not There (which casts 6 different actors in the role of the enigmatic Bob Dylan) is a smorgasborg of covers from a wide variety of artists and its material spans Dylan's extensive career. Containing a whopping 34 tracks (37 if you buy it on iTunes), the overwhelming compilation includes contributions from the likes of Eddie Vedder, Sonic Youth, Calexico, Stephen Malkmus, Cat Power, Yo La Tengo, Iron & Wine, Jeff Tweedy, Willie Nelson, Sufjan Stevens, Glen Hansard & Marketa Irglova, Jim James of My Morning Jacket, and many many more. While the massive collection of songs has its share of misses, there are enough refreshingly original interpretations on the album to make it an intriguing if not necessary buy.. especially if you dig covers, and who doesn't? I'll spare you the song-by-song examination and leave you with my shorthand synopsis. Vedder's work on the Into The Wild soundtrack was excellent.. his rendition of "All Along The Watchtower" is disappointingly lackluster. Former Pavement singer Stephen Malkmus must be friends with the director considering he contributes a whopping 3 tracks to the soundtrack, all of which are quite decent. As far as highlights, all of the Calexico collaborations are top-notch, especially "Goin' To Acapulco" with My Morning Jacket's Jim Jones. Jeff Tweedy can do no wrong, and his version of "Simple Twist Of Fate" is a highlight. Sufjan's take on "Ring Them Bells" is memorable, although the ending is a bit overblown. Jack Johnson (I am NOT a fan, to say the least) turns in a surprisingly respectable version of "Mama You've Been On My Mind" and while I've not delved too deeply into Antony & The Johnsons' material, I must say, the man's voice is beautiful and his version of "Knockin' On Heaven's Door" is quite stunning. There's definitely some skip-over tracks on this extensive soundtrack, but the premise behind it is clever and there are enough gems on it to make it a worthwhile purchase. -- Capt. Obvious

Listen:
MP3: Antony & The Johnsons - Knockin' On Heaven's Door
MP3: Jim James & Calexico - Goin' To Acapulco

Tags: Bob Dylan, I'm Not There Soundtrack, Soundtracks

The Covers Mixtape II

SIDE A
1. The Decemberists - Human Behaviour (Bjork Cover)
2. Andrew Bird - Oh, Sister (Bob Dylan Cover)
3. The National - Pretty In Pink (Psychedelic Furs Cover)
4. Will Oldham & Tortoise - Thunder Road (Bruce Springsteen Cover)
5. Mark Kozelek - Whiskey In A Jar (Thin Lizzy Cover)
6. Britt Daniel - Bring It On Home To Me (Sam Cooke Cover)
7. Cat Power - I Found A Reason (Velvet Underground Cover)

SIDE B
1. Manchester Orchestra - Brother (Annuals Cover)
2. Bright Eyes - Mushaboom (Feist Cover)
3. Josh Ritter - Blame It On The Tetons (Modest Mouse Cover)
4. Iron & Wine - Waiting For A Superman (Flaming Lips Cover)
5. Elliott Smith - Trouble (Cat Stevens Cover)
6. Willy Mason - The Message (Grandmaster Flash Cover)
7. The Polyphonic Spree - Lithium (Nirvana Cover)

Tags: Covers, Mixtape, Covers Mixtape, Captain Obvious Mixtapes