Summertime is well on it’s way in North Carolina with the heat refusing to let up, but this didn’t stop the masses from coming out to enjoy some of their favorite local bands this past Thursday night on the rooftop of the Rosemary street parking garage in Chapel Hill. Beers from the Carolina Brewery were passed around, sandals were tossed to the side, and the crowds were soaking in the music.
Ryan Gustafson and his crew started the night off. The open air was filled with brilliantly moody melodies rooted deeply yet possessing a sort of grace that softened the somewhat secretively hidden yet dark lyrics. Ryan’s band is part of the Drughorse Collective, a group of local musicians whose members mingle and mix including Max Indian, Light Pines, The Love Language, among others. The collaborations all possess their own strengths but I want to say thank you to the fact that we get to hear Ryan’s incredible vocals as he pulls on the heartstrings of all in ear’s length. Ryan explained that he started this project because “this was me learning to write music”, and it’s obvious he’s on to something.
Ryan Gustafson will be playing a show in August (check his myspace for details) and is also a part of the Hopscotch Music Festival in September.
At this point in the evening the sun had set, the breeze had set in, which only meant conditions were perfect for the headliner, The Old Ceremony and the fans were psyched to get them on stage and it’s clear why. Each member seems to be made for each other, with each part being distinct and feeling almost freeform yet completely controlled and together. It’s apparent that these guys have been playing together awhile. Their music gathers from a wide range of styles and sounds, from post modern pop to hard blues rock and the guys can more than jive with all of it. Django, the lead vocalist/guitarist, has a voice of true power. Whether ballad or a heavy up-tempo, his voice is solid and never seems forced. Honestly, after listening to songs like “Reservations” and “Get to Love” you will have surely developed a new music crush.
The Old Ceremony has a new album coming out titled Tender Age and will be having their release party at the Cat’s Cradle September 17th. Check them out and I’ll see you there!
These jazzy, power rock kids are the chocolate to my new music craving. They remind me of old Ben Folds, and the Magnetic Fields. Word on the street is they killed it at SXSW and if my eight ball is correct they will continue to grab their listeners attention, witty comical lyrics and well played tunes? In my opinion you cant go wrong with that kind of combination.
Check out ” Ad Rads” newest single “I Heart California.”
Its tough to compete on the indie scene with bands like Passion Pit and MGMT out there kicking major eletroc-indie-rock ass, but The Ruby Suns are definitely holding their own. They are playing a show tonight at the Brooklyn Bowl and I highly recommend you go check ‘em out.
The Plyamorous Affair release their first diddy off their self-titled sophmore album. White Hot Magic, falls right in line with the rest of their tracks minimal lyrics, and a badass beat on repeat. Some how they still remain catchy and fun, perfect for background party tunes.
J. Tillman, drummer of Fleet Foxes, was joined on tour by his brother, Zach, to play at the First Unitarian Church in Philadelphia last Tuesday night. The church’s side chapel has eleven rows and an 1880s inspired architectual design with dark hand carved wood trim. About 60 onlookers made their way to 22nd and Chestnut streets and rubbed shoulders willingly as the opening act, Zach Tillman, began playing. He immediatley filled the space with melodic finger-picking, deep-voiced Leonard Cohen-like tunes. He sang about a girl named Lola as well sarcasticly driven songs about Jesus to set up the night for his older brother’s band, in which Zach plays bass.
With a full five member band and a long beard, Tillman started with a song featuring his voice and acoustic guitar joined later with Fleet Foxes inspired layers of melodic guitar riffs and a folkish drum beat. Each song held its own story or meaning. However, the night’s climax came when Tillman sang, Master’s House, welcoming all, no matter good or evil, to a place of no pain or struggling. Soon after, Tillman led his band in a noise infused melodic jam session, strikingly different than I imagined his live music to be.
After almost 2 hours of religious infused vocal harmonies, layered finger picking guitar leads, and inspired drumming, the audience was in full support of Tillman’s efforts. Impressively honest and vulnerable, the Tillmans brought emotion, serenity, and, well, brotherly love to Philadelphia.
When the XX rolled into New York City for the CMJ Music Marathon last month they were one of those bands that would especially relate to the term ‘Marathon.’ On the day that I caught up with them they were set to play three shows. This was their 3rd day in New York and they had already graced a few stages. Sitting in the lobby bar of the Tribeca Grand Hotel, singer Oliver Sim (Co-vocals and Bass) motioned over to a corner behind the bar and said, ‘Tonight we’ll be right there, I think we go on at 1:45am.” Suffice to say that my conversation with Oliver, Romy Madley Croft (Vocals, Guitar), and Jamie Smith (Beats and Noises) was one of many engagements they had that week and I was honored to have the opportunity to talk with them amidst their packed schedule.
The XX have a very minimal pop sound. Romy said that this was as much a function of taste as it was her and Oliver wanting to write music and not having a lot of training on their respective instruments. They started writing tunes together and then asked Jamie to back them with some beats. Jamie got an MPC for his 18th birthday, and while he actually played the drums, he discovered that he could use the MPC for all sorts of sounds and started using that exclusively for the new XX songs. “If you need a harp sound, there, you’ve got your harp sound!”
Lyrics and melody are very distinctive elements to their sound. Romy and Oliver only sing the words they write. They’ve been friends since they were little kids so I asked if the lyrics were duets to each other, or if each of them were singing about someone else. According to Oliver, “Our song-writing is like a collage. It doesn’t have to fit perfectly it’s just looking back through things I’ve written and fitting it in. But we sing about separate things…they aren’t lyrics to each other.” They are also lucky enough to have voices that complement each other perfectly. While neither Romy nor Oliver thought this was anything other than coincidence, Jamie has an interesting theory – one that probably says something bigger about the XX as a whole: “They grew up together so they learned to talk together; I think that’s why their voices fit together.”
They spoke a lot about the UK Garage scene – a scene that has followers here in the States, but couldn’t be accused of being popular (it is in the UK). Jamie is actually working on some UK Garage remixes to come out as 12” singles later next year (Jamie is also a DJ, who in addition to playing all of the XX gigs had to DJ the Pitchfork party later in the week). Romy pointed out the comparison between the deep bass tones of Garage and their use of white ear bud destroying sub bass on their record, “Our sound owes a little bit to the low end in UK Garage, I like when the sub bass hits you and you can feel it.” I noted that yes, I have in fact felt their bass a couple times in my apartment, as had my downstairs neighbor, specifically the first three seconds of ‘Islands.’
When asked about what they’ve been listening to lately and what they grew up (ha, still growing!) listening to, their answers ranged from Jesus and Mary Chain and Bon Iver to Aaliyah and TLC, while Oliver noted that Cherry Coloured Funk by the Cocteau Twins had been on repeat recently. Talking with this band didn’t feel as though you were speaking with the newest Pitchfork approved, CMJ-lauded, indie powerhouse. There was no wall surrounding these guys, the kind of blockade I expected to see as their back story includes a label giving them practice space for a good two years before their album came out.
If you haven’t yet, check the XX out at www.myspace.com/thexx
I went to the see David Bazan this past Sunday at Bowery Ballroom. Honestly, I wasn’t really looking forward to it. It was 40 degrees and rainy, overall bullshit weather, and I didn’t want to leave the house. I got there and some mediocre band with an upright bass player was the opener (Dave Godowski, in case you’re in the mood for acoustic music with predictable lyrics). I almost downed my overpriced Budweiser and went for another, but I decided to nurse it because it was, you know, overpriced, and dealt with the torture like a man.
Next up was Say Hi (who are also part of Bazan’s touring band). Not the greatest band name, but I’ll give them a break; I know all the good ones are taken. There isn’t much to say other than they were a solid band in almost every regard: Drumming, guitar and bass, vocals and background vocals. They didn’t have that spark I look for in a band though. Sorry Say Hi, your set was tight, but a little long for an opening band I’ve never heard of before, and you lacked fire.
Finally David Bazan went up. Bazan was on bass duty tonight, instead of his normal Tele. I was a little skeptical at first because the last time I saw him perform with Pedro the Lion, Jonathan Ford (Unwed Sailor and Roadside Monument) was playing bass, and totally killed it. To my surprise Bazan is a fantastic bass player, even while singing. Say Hi was on drums, guitar, and keys. They were holding it down like pros. The big surprise for me was the gray haired, bearded guitar player on the Strat in the corner. He was amazing! He played the perfect thing every time and had spot-on background vocals. I had visions of him being some long lost uncle of mine here to teach me how to slaughter my ax. Where the hell did this guy came from? Was he someone’s stepdad Bazan was friends with? Or maybe some homeless guy he saw playing on the street? The truth is not quite as romantic as my Budweiser visions. His name is Blake Wescott and he has been on Damien Jurado, Aaron Sprinkle, and Denison Witmer records. He fronted Bloomsday, and was a backing musician for REM and Crystal Skulls. This guy was no joke.
The show was brilliant, it made me remember why I like David Bazan so much and may have tipped the scales for me on the track “Bless This Mess” (although I still think it’s a bit forced, it worked live). I’m not going to go on and on about how great the live show was, because live shows are a moment and to try be the dad who’s going on and on about how amazing Dylan was at Woodstock while smoking a joint with his sixteen-year-old son to “bond” with him isn’t my thing. I’ll leave that for hippie dad turned investment banker. But if you have the opportunity to see David Bazan I’d highly recommend it.
You know what I find strange and confusing? The fact that Pitchfork and Stereogum haven’t reviewed David Bazan’s Curse Your Branches. Pitchfork can’t stop talking about, or posting songs from Weezer’s new album, which wages warfare on its fans ears and borders on negating the brilliance of their first two. Meanwhile, David Bazan is listed as #85 in Paste Magazine’s top 100 living song writers (sorry Rivers you didn’t make the cut on that one) so you’d think this album would be worth reviewing.
This is David Bazan’s first full length album since dropping the Pedro the Lion moniker. I would say “going solo,” but Pedro has been a revolving cast of band members with Bazan at the helm throughout their tenure.
On first listening to this album there is a noticeable sonic departure from the Pedro material, and even the sound-searching Fewer Moving Parts EP. The guitar work is more of a clean or slightly overdriven rock n’ roll sound and less of the epic sound of Pedro’s later work, which is quite refreshing. “Bearing Witness” has some cool Beatles via Elliott Smith style guitars and “Heavy Breath” is reminiscent of later Starflyer 59 guitar work. This album leans heavily on layered keys throughout most of it. There is real warmth to the keyboards and Rhodes, no thin, eighties Casio sounds. The rhythm section and background vocals tend to veer into pop territory, which counteracts the bleak lyrics. With this sonic direction it shows Bazan took his time and laid a solid musical landscape for the kind of lyrics that NPR and other critics have been labeling as “Breaking up with God.” Time works well for the music, but I think it gave Bazan the opportunity to overwork some of the lyrics, which is evident on “Bless This Mess.” When the background vocals for that track kicked in, my finger slid to the “skip” button on my iPod. But I didn’t do it. I let it ride. The problem with that song is that it throws the rest of the record off and I had to listen to the record a few more times before its teeth sink in.
This album was a grower for me, the last time I listened to it sounded better than the first. I’ve even woken up with “Please Baby, Please” rolling through my head on more than one occasion. Overall the lyrics work, but it has a few awkward moments. I guess it’s natural for drunken break-up conversations with God using evangelical jargon to come across as a bit awkward. Overall it’s a catchy, honest record that has some jabs, most notably on the cathedral-sounding “Lost My Shape” where Bazan talks about priests getting together with nuns instead of breaking little boy’s hearts. It’s a slightly over-the-top line that makes me happy Bazan is back in the game. This haunted, boozy line on “In Stitches” sums up the record for me: “The crew has killed the captain, but they can still hear his voice”. One disappointing thing about this record was that Blake Westcott only shows up on background vocals. Hey Bazan! Let’s get some Blake Westcott guitar love on the next record. I’m just sayin’, he was killer live. So yes, definitely give Curse Your Branches a listen…or two.
The Con, Tegan and Sara’s 2007 album, is an incredibly difficult act to follow. It is what Tegan and Sara call one of the most depressing albums they have ever made, and what Tegan and Sara fans call one of their favorite albums of all time. Sainthood does a fine job in following The Con, because it takes us back to why we fell in love with the band in the first place. Their angst to find love and meaning in life hits us straight in the chest. Is this progression, using the old as new again? Who the fuck cares, the album rocks. No one can beat the twins knack for making albums that are impossibly catchy, and incredibly clever. Sainthood gives us exactly what we want, and that is more Tegan and more Sara.
Just days after releasing their 7th album, Tegan and Sara took the stage for two nights at NYC’s Town Hall. The place was buzzing with loyal fans drooling for the twins witty banter and rocked out live show. Opening with “The Con”, “Walking with a Ghost”, and “I bet it Stung” set as the bait to reel us in for new tracks off Sainthood. In fact the band played the entire album, Tegan jokingly explained, ”I feel like its self indulgent to play all new songs and you are probably like I came here to hear the hits! Well heres the thing, it’s not about you.”
Tegan and Sara showed up in top form, complete with banter about “fancy New Yorkers that get their plaid shirts dry-cleaned,” Sara’s thoughts on Armageddon and how she is most likely not built to survive such a thing, calling on one lucky lady named Lilian to “keep an eye out” for unruly members of the crowd, and Tegan’s disclosing a “secret” that she doesnt remember the 2nd word in the last verse “Northshore.” To break up the “Sainthood set” Tegan and Sara played some of my all time favorites off of, The Con, “Like O Like H,” “Nineteen,” and “Soil, Soil.”
After almost 2 hours of song after song, the twins closed down their show with “Where does the Good Go?” and “Call it Off.” Over all I’d say the concert was (once again) one of the best live shows I have ever seen, I think one of my fellow concert goers sumed up the feeling for all of us best when she yelled out, “do me!”
At this point in the evening the sun had set, the breeze had set in, which only meant conditions were perfect for the headliner, The Old Ceremony and the fans were psyched to get them on stage and it’s clear why. Each member seems to be made for each other, with each part being distinct and feeling almost freeform yet completely controlled and together. It’s apparent that these guys have been playing together awhile. Their music gathers from a wide range of styles and sounds, from post modern pop to hard blues rock and the guys can more than jive with all of it. Django, the lead vocalist/guitarist, has a voice of true power. Whether ballad or a heavy up-tempo, his voice is solid and never seems forced. Honestly, after listening to songs like “Reservations” and “Get to Love” you will have surely developed a new music crush.
J. Tillman, drummer of Fleet Foxes, was joined on tour by his brother, Zach, to play at the First Unitarian Church in Philadelphia last Tuesday night. The church’s side chapel has eleven rows and an 1880s inspired architectual design with dark hand carved wood trim. About 60 onlookers made their way to 22nd and Chestnut streets and rubbed shoulders willingly as the opening act, Zach Tillman, began playing. He immediatley filled the space with melodic finger-picking, deep-voiced Leonard Cohen-like tunes. He sang about a girl named Lola as well sarcasticly driven songs about Jesus to set up the night for his older brother’s band, in which Zach plays bass.
When the XX rolled into New York City for the CMJ Music Marathon last month they were one of those bands that would especially relate to the term ‘Marathon.’ On the day that I caught up with them they were set to play three shows. This was their 3rd day in New York and they had already graced a few stages. Sitting in the lobby bar of the Tribeca Grand Hotel, singer Oliver Sim (Co-vocals and Bass) motioned over to a corner behind the bar and said, ‘Tonight we’ll be right there, I think we go on at 1:45am.” Suffice to say that my conversation with Oliver, Romy Madley Croft (Vocals, Guitar), and Jamie Smith (Beats and Noises) was one of many engagements they had that week and I was honored to have the opportunity to talk with them amidst their packed schedule.
