Jam of the day, an awesome but sad music video, and WYEP: Fanfarlo / "Shiny Things"

Artist: Fanfarlo
Album: Rooms Filled With Light
Song: "Shiny Things"
Released: February 28, 2012
Label: Canvasback Records

I missed the Fanfarlo show at Mr. Small's on Sunday night but was lucky enough to sneak into a last-minute admission to their live session at WYEP's studio on Monday afternoon. Lisa and I showed up right at 1:00 and were ushered into the studio as the live session was just about to kick off. Cindy Howes was up near the stage and the forty or so seats were mostly taken so we stood near the back. I smiled at the couple with their two small children also standing in the back and at the sweet old man who ducked underneath the reach of my phone while walking by me even though I was just checking my email and not taking a photograph at the time.

Fanfarlo sounded absolutely amazing. Their songs, on record, have been hit-or-miss with me, feeling like a little too over-produced twee, hyper-arranged, orchestral pop tunes to really hit me hard … but I rescind those complaints formally now. I'm a Fanfarlo fan. Part of that transformation was the band's demeanor during the interview. They were humorous, personable, off-beat, and decidely exactly the opposite of the kind of high-minded, erudite, scholarly popsters I had in mind based on their songs. Maybe I was way too pre-judgmental about their music and their image, but hey, I take it all back. Their songs now sound perfectly catchy and engaging to me, and knowing there are affable and genuinely interesting individuals behind it all … that just adds to the appeal.

The standout track of the half-hour live session was the last number, "Shiny Things". Cindy introduced the song by talking to the band about the music video, which quite literally (and quasi-violently and decidedly-creepily) portrays the song's discussion of greed and ambition and retribution and … well, now I'm kinda spoiling the imagery and surprises therein. Watch for yourself and prepare to be fucking amazed and enthralled. I can't look away from this video, even on my third straight viewing now, never mind the fact that this song is amazing. As Cindy mentioned in the interview, too, this video is incredibly sad while being absolutely awesome.

Fanfarlo / "Shiny Things" / Rooms Filled With Light / dir. Tim Nackashi

Here's a photo from the studio session. I really like their studio and I'll make it a point to go back there more often. Would you believe that this was my first time visiting WYEP's interior? Seriously! I've been in that neighborhood dozens of times for Club Café shows or hanging out at the Beehive, but I'd never actually been inside WYEP's building. It was super nice.

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Fanfarlo on the web: / Website / Facebook / Twitter / Wikipedia
Buy Rooms Filled With Light: Band site / Insound / Amazon / iTunes / eMusic

Jam of the day, late-night TV, music discovery, SXSW, and left-handed guitarists: Gary Clark, Jr. / "Bright Lights"

This song is a straight jam, no ifs ands or buts or becauses or what-have-yous about it. I don't know much about Gary Clark, Jr., though. I stumbled on this tune via a message board a number of months ago, and I remember really digging it when I heard it (and it was this specific video, too, not a studio recording). I didn't investigate the guy further, though, for whatever reason, thinking him too "mainstream" or something silly like that, then totally forgot about it until earlier tonight.

I was watching late night TV because the featured bands actually piqued my interest: Sharon Van Etten (*swoon*) was on Conan playing "Leonard", and then The Shins were on Letterman playing "Simple Song". I flipped over to Fallon to catch Jon Hamm (I find him hilarious whenever he's on 30 Rock and SNL) and left the TV on in the background as I came back to my laptop to do some more writing work. Eventually, Carson Daly's show came on and he said that this episode would be devoted to artists they saw and loved at SXSW.

This brought to mind a couple of things. First, it made me think about how people discover music these days, who we view as "go-to sources" for music discovery, who we trust as musical litmus tests. It's strange to think of times when, I dunno, Rolling Stone might be your one and only print publication by which to judge new releases. Or shit, the radio, even! What was music discovery like before the internet?! Personally, I didn't discover any music outside of classic rock radio that my dad played in the car up through high school, so I can only imagine what kind of dark ages the 80s and 70s and … well, fuck, there was some great music coming out back then, right? And people were finding out about it, I presume. Is the internet actually a good thing? My vast digital music collection says, "Hell yeah motherfucker!", but my exploding inbox of "Listen to my music pleeez!" says, "Hell no, motherfucker!". Only time will tell, I suppose.

Second, this reminded me of a Tweet from some friends who were down in Austin at SXSW last week. Apparently, Carson Daly was onstage playing drums with Thee Oh Sees?!?!?!? I love that band and their garage rock awesomeness, and it's hard to imagine Mr. TRL drumming along to such tune-age at all, let alone live with these dudes. Still, it makes me wish I had been there to see it, because I'm sure it was a spectacle, an experience, something interesting to witness. I've never been to any kind of music festival, so that's something on my agenda for the future.

What else was I talking about? Oh, you'll notice that the second guitarist in this video (the first guy you see in the first frame) is a left-handed guitarist. As a staunch ambidexterian (if you ask, I can list all of the things I do lefty and all of the things I do righty; there are plenty of each), I find it particularly interesting to see people doing something lefty that is vastly more commonly done righty. Guitar-playing, golfing, hand-writing, masturbating … just kidding. No really, I'm kidding, don't show me. Jimi Hendrix and Paul McCartney stand out as striking left-handed guitarist examples. Do you have any others? Famous or otherwise?

Where were we … back to this Gary Clark, Jr. tune, right! This was recorded at Eric Clapton's Crossroads Guitar Festival, and it has some great footage of Clark singing and guitaring, plus his backing band of guitarist, bassist, drummer, and brass. His voice is outstanding. I think that's what really gets me, that he's belting out these lines while strumming some sweet licks and solos. Not to mention how cool those shades are …

"You're gonna know my name by the end of the night"



Gary Clark Jr. on the web: Website Facebook Twitter YouTube

Jams of the day: Pavement / Live At Maxwell's (08.12.1990)

This is apparently Pavement's 2ND SHOW EVER. Holy fuck. And it is finally surfacing now, thanks to a Soundcloud upload of a cassette tape recording by Maria T (current WPRB DJ), who was at the show. A Crush mag review of the show has also surfaced here. The recording itself is lo-fi and fuzzy, and the vocals are hard to make out, but I like to think that this is just part of the early Pavement aesthetic. I only saw them a couple years ago on their reunion tour, and it felt more like a "play these special songs" show, which was absolutely great the time (my fave show of 2010, actually), but this show feels much more like a live "experience", and makes me yearn to see them in the early days. Enthusiasm was high and predictability was low, and that's potent. Listen in here:



The false-start with Malkmus cursing at the 15:00 mark is fucking priceless.

Get more info from P4k, if you so desire.

Jam of the day, guitar atmospherics, and an upcoming show you gotta see: Eureka Birds / "Goodbye Space And Time"

I'm gearing myself up for an awesome show this weekend. We at Draw Us Lines are going to "curate" (that sounds hoity-toity) a series of shows at venues around Pittsburgh. This allows us to shine the spotlight on some great bands and people, and bring folks out to see artists they might not otherwise know about or want to see. By rotating around at different venues, we should be able to focus on different genres, too—loud rock, acoustic folk, dancey pop, etc.—and we're looking forward to working with lots of great Pittsburgh (and national) indie bands in the future.

Our first show is happening this Saturday night, February 25th, at the Brillobox in Lawrenceville. Bluebird Midwest, Horse or Cycle, and Eureka Birds are playing, and they are all excellent. You should read my full preview over at Draw Us Lines to get the full scoop on the show, but suffice it to say: you really gotta go.

In preparation, I've been jamming a lot of tunes by these bands, of course. A lot of Eureka Birds songs have been stuck in my head ("That Mountain Is A Volcano", "Oh! My Dear", "Cactus Man", …) but there's one I'm particularly looking forward to seeing live, after finding a YouTube vid of it: "Goodbye Space And Time"

Eureka Birds / "Good Bye Space And Time" / Eureka Birds [2008] / Live @ North Star Bar, Philly

Isn't that killer? The lyrics are kinda mellow and down-trodden, but engaging and you can read some uplifting qualities into it all, if you try. The thing that gets me, though, is the slow-burn, rise and rise and rise and rise aspect of it, culminating in an absolute shred of a guitar solo over the last minute or so. I was trying to explain this appeal to my friend as we watched the video together: yes, the solo is not a crazy riff or melody and might not take too much technical prowess, really, but there's something about how it fits into the song and carries my mind and emotions along that has me hanging on the edge of my seat and leaning in closer and closer until it's over. Part of that has to do with the fact that I can see the video timer and realize, "Wow, there's only 20 seconds left, where the hell could this be going? He's still wailing on that axe like a madman!" Maybe that's it. I'll tell you this, though: I'll be watching googly-eyed from the side of the stage when they rock out like this on Saturday night, and you owe it to yourself to be there with me. Rock on.

Eureka Birds on the web: Website / Facebook / Twitter / Bandcamp

Jam of the day, coffee shop albums, and fresh experiences: Neutral Milk Hotel / "Ghost"

I walked into the Tazza d'Oro satellite location in the Gates-Hilman Center today to grab some coffee and cure those post-late lunch fatigue blues. Yeah, man. I ended up sitting in a nice comforable chair, sipping delicious black coffee with a splash of whole milk (most places just have skim or half & half, so that was nice) while reading the 33 1/3 series book on Nick Drake's Pink Moon (written by Amanda Petrusich, one of those Pitchfork writers who I will read whenever I see the byline, no matter the album). More importantly, for this post, I caught the last half of the Neutral Milk Hotel tune "Oh, Comely" on the house speakers while I walked in. At the time, I thought, "Wow, that's an intense song to be wafting over the ears of these dutifully working nerds." (I can say that cuz I'm one of them.)

After I ordered my coffee and sat down and the song rolled around to its perfect finish, I expected some random playlist to kick in and throw something at us, but instead it transitioned exactly into "Ghost", as In The Aeroplane Over The Sea does. I realized they were playing this album straight through. Awesome. I'm all for exposing great music to potentially unknowledgeable ears. Unfortunately, I'm sure a lot of folks were just ignoring it or tuning into their own earbuds, but it's nice to think about someone who has never ever heard this album and will be drawn to it and maybe ask the barista what they're playing and go back to their dorm and look it up and be welcomed into an entirely new world of music. That makes me crack a smile. I love this album so much I almost wish I could forget everything I know about it and experience it completely anew. Since I can't do that, I just hope there are people out there doing exactly that every day.



Bonus! Here's a video of NMH (and friends, judging by the multitude onstage) jamming this tune live at the Electric Lounge in Austin, TX on April 4th, 1998. We live in an incredible age. We can watch this video of something that happened 14 years ago, something that will never happen again. Yeah, the playing's a little off and the video is grainy and the audio is kinda warbly. Who the fuck cares? This is great.



Are there any other great, classic albums that somehow just work when played at a coffee shop, straight through? We usually think of coffee shop culture as iTunes playlists, or radio, or whatever randomness the barista(s) feel(s) like playing. This album fits the bill, I think. Any favorites you want to share?

Oh yeah, they played through this album, then on to some Olivia Tremor Control tracks, then started of Montreal's Hissing Fauna, Are You The Destroyer? and then I had to leave. Kudos to whoever's Elephant 6 playlist was chosen for that day.

Concert Review: Allison Weiss + Mitten + Donora @ Thunderbird Café / 01.14.2012

Catching up on weeks-old shows. Mitten put out a catchy and lovely EP last year called See You Bye. I really liked it and was kinda surprised by how much I did, and wrote that in this review here for DUL. I've managed to see Allison Weiss four or five times here in town over the last couple of years, and I saw that they were touring together this winter and stopping here at the Thunderbird, hooray! And they're playing with Donora, even better!

I emailed the ladies of Mitten to set up an interview a couple of days before the show, and had plans to meet up with them and AW for some pizza before the gig, but unfortunately they got delayed on the road. We ended up just meeting at the venue after soundcheck and right before they played. (That's their soundcheck in the photo on the left, with AW internetting and Hugh snapping photos.) I had a quick conversation with Joanna and Maia about their current tour and their plans for future recording. What struck me was how much god damn fun they were having. In the most pleasant way possible, I could hardly get a word in! They cracked jokes left and right, smiled constantly, jabbed at each other and told tour anecdotes, and were genuinely outgoing and bubbly the whole time. The best kind of interview, really, but darn hard to transcribe (especially with the background noise by the pool table there) so I'm working on that and it'll hopefully be done next week.

My friends and I sat at the table at the front of the balcony, which is an optimal viewpoint at the Thunderbird, I gotta say, but it kinda sucks for sound if there are lots of people at the bar up there. If people are respectful and pay attention, it is outstanding for sound, right up in the middle of the sonic spaces, but if everyone is really chatty, like this night … well, it can be really frustrating. I had trouble hearing banter, and some of the quieter moments of Mitten's music—which are some of the best parts of their music, really!—got a little blurred and almost drowned out. Fuckin' ay. Overall, they played great and seemed to have a good time, regardless, and there were a couple of folks up front dancing and singing along, so I'm glad for that. It's just too bad that our location wasn't the best and there was a big group of us so moving up to the front of the stage wasn't gonna work.

This trend kinda continued into Allison Weiss' set. She blasted through a bunch of new songs, and the usual old faves—"I Was An Island", "Fingers Crossed", "You + Me + Alcohol"—and her downtempo cover of Robyn's "Call Your Girlfriend", which is gorgeous. Having just seen her play in December at Point Park, there wasn't much new to talk about. She played well, was her usually friendly self on stage, and the crowd down at the stage level was really into it. Mitten came back onstage to play a song or two at the end, too; that was fun.

Donora came in and rocked the house, as usually. It became clear as the night went on that most people were there to see Donora and were kinda waiting through the first two sets to see them. That irked me a little. As much as I love local bands and am glad to see when they become increasingly popular, I don't like seeing this dynamic at shows where it's like you can completely forget about the fact that people are standing on stage playing songs for your entertainment and you're just talking to your friends like they don't exist. It's fine to not like bands and not want to pay attention, but just do it somewhere else. Go downstairs to the bar. Go outside. Play a game of tic tac toe. Whatever it is. It's just really annoying to everyone else trying to watch and listen when they have to fight through your idle chit-chat.

Concert Review: The Lemonheads + Meredith Sheldon @ Stage AE / 01.20.2012

Not being a hardcore Lemonheads fan and seemingly not having been exactly the right age in the early 90s, I have some mixed feelings about this show. Did I have a good time there? Yeah, pretty much; for hanging out by myself at the Stage AE club stage on a Monday night in January, it was swell. Was I wowed by the music or the performance? Not really, but I didn't quite expect it to be, so it's fine. If I'd had some expectations or heavy knowledge of Evan Dando and his personality and the band's songs, I might have had some more nuanced thoughts about the show, but overall, I'm feeling like the big proclamation is: "It was a concert. It was ok."

I caught a bus downtown then walked across the river in a slight drizzle, and missed the first opening act, who was apparently just the Lemonheads' bassist. The second opener, Meredith Sheldon, was actually really good, and I'm glad I made it there just before her set started. Her look was kind of that "focused slacker" style—kinda baggy gray t-shirt, hair a little stringy and framing her face, tight jeans, huge heels, eyes closed or staring at the floor the whole time—and it suited her songs well. Her voice was gorgeous, her guitar playing was solid and expressive, and alternately with/without a backing band of bass and drums, she could move around from slow and somber songs to more upbeat rockers. Her last song was a stellar cover of a Big Star song. I was impressed and was glad I was up close to hear them well, because it didn't seem like anyone except for the first few rows of standing people were even paying attention. It's a shame about Meredith.



There was a long wait between sets, despite no instrument setup of any kind. Evan Dando came out around 9:50 and played a few songs solo. Midway through the first one, he stopped to ask to lower the guitar in his monitor. The crowd was "woo"-ing passionately, like fanboys, and Evan kept his head down. Feeling shy? Not noticing? Who knows? After three or four acoustic numbers, he plugged in and the bassist and drummer came out to play. There was this older married couple standing next to me and they were just shredding guitars in the air and totally loving it. That was kinda cool. Everyone in the front row was singing along. That is not as cool. They started in on playing It's A Shame About Ray in order, and the crowd really loved that. I caught Evan staring up at the ceiling during the title track, like he has to gaze upward to hit the highest notes ("it's a SHAME about Ray…"), and then when he looked back down he had a little grin on his face, like it's his little secret trick no one knows about or sees. My phone notes remind me that his "blonde hair hangs straight, eyes downcast, looks coyly happy".

Every once in a while, he slipped up some lyrics or missed a vocal cue, and I caught him checking for the bassist to cue him in sometimes. I found that kind of endearing, actually, like it's amateurish but he knows it and doesn't care about doing what he has to do to keep the set moving. He never looked angry or disappoined in himself, and even chuckled a little bit. Finally, he started some banter like 40 minutes into their set. It was at this point that I was actually enjoying myself, taking in these unfamiliar tunes and enjoying the show, in the sense of the performance. However, reading this review in the Post-Gazette makes me think that being a nonfan colored my experience differently. Scott Mervis laments about Dando's initial performance and relates it to his troubled history with drugs (meanwhile completely mislabeling the opener; The Shining Twins did not play this show, and he didn't realize that even though he was apparently there for her set?). He noted this turning point where Dando started talking with the crowd, even though it was kinda mumbly. I wouldn't call it a "transformation" in his performance, but it was a noticeable moment.

The band left the stage and Dando played solo for a little while, starting and stopping a song he forgot he had already played, asking the audience outright for suggestions of "rare songs" of theirs to play (like he couldn't remember them or something), talking awkwardly about pills, and eventually stopping and walking off to genuine but half-hearted applause. The audience pretty much assumed an encore, it felt like, and they did get one. The band came back out to play and I just took off. I had been feeling bored for a while. It was just too long of a night for a band I don't know. At least in the beginning I was enjoying their songs for the performance aspect, the interesting character study of Mr. Dando—in that sense, I enjoyed the show—but eventually, it was just all too much of the same sounds—in that sense, it was a lackluster concert. Perhaps, if I was a true fan, like Mr. Mervis, my feelings would have been a mirror image of that, but as it was, I was happy to be walking out at 11:15 and strolling along the river by PNC Park, soaking in the brisk night air, leaving the amps behind and letting my ears enjoy the sounds of flowing water and distant cars, and heading in the direction of home.

The Lemonheads on the web: Website / Facebook / Twitter

Meredith Sheldon on the web: Website / Facebook / Twitter / Bandcamp

Concert Review: Jeffrey Foucault + Big Snow Big Thaw @ Club Cafe / 01.13.2012

Just catching up on some shows I've seen this year. I used to do these things for every concert I went to, and it served as a nice list of shows/bands I saw, at the very least, in addition to a record of my thoughts about them. I'm gonna try to keep up with that this year without falling behind too much (and some better reviews appear on Draw Us Lines when I have more thoughts to share and care more about my writing style).

I try to catch Big Snow Big Thaw at every chance, not just because they're my friends, but because they're great. I remembering being initially surprised at how much I dug these kinds of folksy/bluegrassy sounds, but then I realized that's just me being picky and closed-minded about musical tastes. Call it what you want—newgrass, folk rock, midwest rock 'n roll, somethin' else made up—it doesn't matter. It rocks. And every time they play, they've got new songs to share. They've been hard at work at J Bird Studios and their first album should be out real soon. (In the meantime, do yourself a favor and check out their Winter/Spring EP combo on Bandcamp.) That very same J, he of J Bird, played bass on a bunch of their songs, too, since he has been adding some bass parts during the recording. It rounded out the sound a little bit, and was a nice addition. Here's hoping they explore that route in the future. I caught their set at the Carnegie Library's Sunday afternoon acoustic series (photo above) a few days before this show, too, and that was great to see lots of strangers walking through and sit down and enjoy their tunes.

Jeffrey Foucault was an oustanding performer! Jim and David kinda warned me and the rest of the audience, saying that his soundcheck performance was amazing (he just walked up, no prep, and that voice belted out like he was born singing) and he strikes quite a presence with that magnificently thick beard. He was swigging something from a steel cup, and had been on the road all day, this being the first stop on his tour a long way from his previous night's activity of watching The Muppets with his daughter (why I remember that anecdote, I couldn't tell ya). I hadn't heard any of his songs before and yet I found myself mesmerized. The crowd skewed a little older, I think, and there were some seriously chatty drunkies in the back by the bar, but other than that, everyone was pretty much rapt as JF strummed and sang in front of those Club Café starlights. He did a great Neil Young cover (forget which song) but this number really stood out and was stuck in my head:



Apparently, you can join this Facebook group if you think Jeffrey Foucault isn't famous enough.

Jeffrey Foucault on the web: Website

Big Snow Big Thaw on the web: Facebook / Twitter / Bandcamp

Concert Review / MOIP + 123 @ Brillobox

It had been a long while since I'd seen a proper Meeting of Important People rawk band show. It felt like a year or more, but it was really only like 6 months. Still, that's WAY too long to go without a rip-roarin' set of garage pop tunes, guitar flailing, fast-paced drums, and good ol' fashioned fun times.

I grabbed dinner downstairs at the Brillobox before the show. You have to try the seitan gyro. I think it's pretty new on the menu (I hadn't seen it before) and it was absolutely delicious. Perfectly spiced, nice texture, generously saucy. Yummo. I went upstairs a short while after The Whiskey Holler started their set. I'd only caught these dudes once before, at the Thunderbird back in September, and I was really surprised by how great they were that first time. I wasn't expecting them to be bad, not at all, but it was one of those really pleasant surprises where you don't know the band, have no expectations, and then they rock your socks off and you find yourself grinning halfway through because you know you've stumbled on greatness. Yeah, it was like that. This time around, the crowd was kinda chatty and the band was playing as an acoustic duo (or trio, perhaps?) so it didn't come across nearly as well as I remembered/had hoped. I still enjoyed their twangy rock tunes, but I wish everyone else was paying better attention. I suppose I should have gone up and stood closer but I didn't feel like navigating the already dense crowd. They play around town a lot, so I'll be sure to catch 'em again soon, and I recommend you do the same. In the meantime, dig this live recording from a Howlers set. It is fantastic. Also, check out this story they posted on their blog last month. Love the story-telling style, fellas.



Meeting of Important People got up next and did what they do best: everything. Josh announced that they'd essentially taken the entire fall season off from concert-playing and put together an entire new full-length album of material that they're very eager to share. Huzzah! They've slipped a couple of new songs into their repertoire over the last year or so, and I've wondered how those were coming along and whether they had any album plans. Now we know. Check out the Kickstarter campaign that they launched last week for more info about it; they want to do all the recording themselves, sans labels and PR and all that monkey business. More power to ya, boys. And readers, throw 'em a few bucks. You won't regret it when you hear what comes out of it all. As I was watching them play, I realized that I've written so many review of their shows, it's pointless to reiterate the fun and tunefulness they exude, so I went and did something I remember doing way back when I was just a fanboy, listening to their record on my iPod, seeing them for the first or second time: I copied down their setlist on my phone while they played. Yup. This is direct copy/paste from the document so you can see my silly notes, unedited.

britney lane
hanky church
(verba nets vs. ver baah nets)
leaving here
its alright to let the old folks go (with bullshit indie rock ending)
one o clock
big muscles
we gotta get outta this place
I know every street
innocents abound (guest shaker)
dead man
good for your bones, punk rawk
training song
leap the dips
boys
??? New song, for when you're higher than hell
nothings goin on
school (nirvana)


1,2,3 came up last and played a bunch of songs from New Heaven, and one new song from an upcoming thing they're working on. The crowd was really into it, although it seemed a little thinner than it had been earlier. I learned that the bassist used to be in Juliana Theory. There's a fun fact for ya. They played my favorite tune of theirs, "Riding Coach". That one always sounds good, and I'm really impressed with how well it comes across in person, too. It almost feels like a headphones song, but they nail it live, even Nic's falsetto. Great stuff. I noticed they had their own sound guy working the board, which I don't see too often from local bands, so they must be prepping him for a tour or something? Sounded pretty good, considering the usual Brillo crowd which, by the way, was waaaayyy worse during this set than usual. Nic actually called out a group of super chatty folks right in the front. "Hey, girl in the glasses, yeah, you, hey, you" … and she still didn't notice! Somebody standing behind her had to poke her drunk ass (not literally, she was just being a drunk ass) to get her attention and get her to shut up so they could play a quiet tune. Yowza. Meanwhile, some other really drunk girl kept "dancing" and stumbling around and falling onto the stage, and Josh's ride cymbal kept falling off the stand (the top notch was broken, I think) and a pink-haried lady in the front kept graciously going up to fix it when it tumbled (which happened at least four or five times). Overall, it was a kinda up-and-down set, logistics-wise, but the music sounded good to my ears, which is all that really matters, right?

Jams of the day, harmonicas in rock, and indie music on TV: The War On Drugs / "Don't Fear The Ghost" + "Snake Tongues" + "Baby Missiles"

I'm glad we've reached a point in our friendship where I can say "I like The War On Drugs" and you know what I mean. That other war on drugs is "bullshit", but Adam Granduciel and gang are "the shit". That Future Weather EP from 2010 still gets plays on my iTunes, and Slave Ambient was a perfect followup/expansion, working together some Tom Petty-channelling, road-trippin' rockers with some more, well, ambient soundscape-style songs. It's weird to listen to some of their quieter numbers because whenever I think back to when I saw them live last summer, I don't recall any dull moments or lulls or even feeling like I was being swept downward by their tunes. And yet, that's exactly what some of their songs do, in particular a new B-side they just released, somewhat appropriately-entitled "Don't Fear The Ghost".
Stream it here:



Oh wait! That's the more rockin' tune. "Snake Tongues" is the languid, hazy, psychedelic track that's newish. That seems backwards to me. I expected "Snake Tongues" to be some upbeat rocker about evil serpents nipping at your heels as you sprint through the desert or something like that. Instead, it seems to be about a weird drug trip. Whatever, it's great. Head over to any of these 1, 2, 3, 4 places to download the mp3 since I can't host it here.

One of my personal favorite tracks from both Future Weather and Slave Ambient is "Baby Missiles". It's not so different on the LP, maybe a slightly different mix or something, but the parts that always get me going are the way Granduciel's voice modulates rapidly in both pitch and fervor ("He's up and down like A NEW JACK TONE") and that fucking harmonica solo! How awesome is that?! Too few modern indie rock bands use harmonica, in my opinion, and I'm not just recommending it for the "let's be different" kind of thing. This is a damn fine instrument and deserves to be used more often. The War On Drugs took to the stage on Late Night with Jimmy Fallon last night and jammed out this tune, complete with that harmonica part we all love. Dig it:



Say what you will about Mr. Fallon, his show, and his ability to ruin every SNL sketch with shattering-the-fourth-wall laughter, but he and his staff have their ears to the grindstone vis-à-vis the indie rock scene. They've pulled plenty of great bands on for sessions and had a bunch make their TV debut there, TWOD included (as well as a recent, lovely appearance by Sharon Van Etten). I'm thankful for this trend: more exposure for good bands, a chance to see ?uestlove play backup percussion, all good stuff.

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The War On Drugs on the web: Website / Bandcamp / Facebook / Twitter
Buy Slave Ambient: Secretly Canadian / Insound / Amazon / iTunes / eMusic

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Jam of the day, and an upcoming film screening: "Glósóli" and Inni

I just found out that Inni will be screened at the Three Rivers Film Festival next weekend, and I had to share. Inni is a live album, with footage from a 2008 performance at the Alexandra Palace in London, directed by Vincent Morisset. The CD/DVD will be officially released on November 7, but the 3RFF will be screening the film on both Saturday, November 5 and Friday, November 11! (You can buy tickets to those screenings here and here; $9 each night.) A description on the band's website nicely summarizes the appeal of the film and how it fits into their discography and band history:

unlike many concerts, watching sigur rós is seldom a communal experience; it is instead intensely personal. by almost entirely removing awareness of the crowd and any sense of place, morisset brings you closer than ever to the players, using multiple camera angles to reveal in sometimes minute close up the concentration and effort involved in delivering such a powerful rock show. …

the performance captures the band playing as a stripped down four-piece for the first time since they were joined by string section amiina at the start of the decade. this fundamental 'boiling down' makes 'inni' a more forceful and primal proposition, much at odds with the popular misconception of the band as purveyors of instant emotional heft for film-makers in need.

the album features 15 tracks, with songs taken from all five sigur rós studio albums. there is also the bonus of an unreleased studio track in the form of 'lúppulagið', which is used both over the credits of the film and as the final non-live track on the album. the dvd/blu-ray, meanwhile, also includes four extra songs from the night.

This sounds incredible. You can pre-order a deluxe edition of the film/album here (with CDs, DVD, Blu-Ray, 7", photos, etc.) or a more reasonably-priced DVD/CD combo here. I really want to check out one of the screenings here in town (probably Nov. 11) and see if they're selling DVDs there, perhaps. In the meantime, here's a trailer for the film:


 
While we're here, I might as well share one of my favorite Sigur Rós songs, too. I think Takk… is what got me into Sigur Rós in the first place, so it will always have a special place in my listening heart. This particular song is lovely and energetic and perfectly arranged and executed, and the same can be said about the outstanding music video. (Read more about the song and the video on Wikipedia.)

Sigur Rós / "Glósóli" / Takk… [EMI, 2005] / dir. Arni & Kinski

 
Sigur Rós: Website / Facebook / Twitter

Jam of the day, and an upcoming concert: "I Need More" of The Cynics at the 31st Street Pub

Artist: The Cynics
Album: Spinning Wheel Motel
Song: "I Need More"
Released: June 20, 2011
Label: Get Hip Recordings

I'll cut to the chase: The Cynics rock. They've been cranking out album after album chock full of garage rock/pop tunes for years and years, and they never disappoint. Lots of bands try to mimic that 60s psych pop sound, with jangly guitars and driving percussion and alternately sweet/punky vocals, but … man, The Cynics embody that sound. They're not mimics, they're the real fucking deal. They released Spinning Wheel Motel just this past summer, and it's a great record, swirling in some punk ("I See More") and blues ("Zombie Walk") and folk ("Bells and Trains") wherever they see fit. (The LP itself has great packaging, too, with an actual spinning wheel on the front cover to reveal the tracklist. Clever!) The first track, "I Need More" is an wild, energetic ride, and the video below is just a perfect match for this tune.

The Cynics / "I Need More" / Spinning Wheel Motel [Get Hip, 2011]



The Cynics are coming to the 31st Street Pub this Saturday, November 5, and you owe it to yourself to get out and see them, especially if you haven't before. They actually don't play shows in Pittsburgh all that frequently, unfortunately (despite being one of our city's best bands), so you gotta take advantage when you can. (Their last show there was incredible; check out my review and some live video footage.) They're on tour with a new Toronto band, Pow Wows, whose originally-self-produced debut LP, Nightmare Soda, is being reissued on vinyl via Get Hip, as well. This band should fit in perfectly at this show, churning out some heavy guitar jams and 60s pop grooves. (Check out a video for their track "Seeing Black" below.) Detroit's The Sights will join the party with some funky garage rock tunes. This will be a fun one, that's for sure. Doors @ 9 pm, only $10. Check out a tour promo video here, too, and here's a Facebook event. And hey, see yinz there.

Pow Wows / "Seeing Black" / Nightmare Soda [Get Hip, 2011]


The Cynics: Facebook / Twitter / Last.fm
Pow Wows: Facebook / Myspace
The Sights on the web: Website / Facebook / Twitter

Jam of the day, Wikileaks leaks, and a surprising fact about China's punk rock scene: Sonic Youth / "Washing Machine"

Artist: Sonic Youth
Album: Washing Machine
Song: "Washing Machine"
Released: September 26, 1995
Label: Geffen Records

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I really had no intent on listening to Sonic Youth today, let alone writing this post, until I saw the following headline on a link shared on SY's Facebook page:

Wikileaks: Sonic Youth is bigger than The Black Eyed Peas in China
The corresponding blog post (on some random crazy-link-sharing Tumblr) links to a New York Times article about how Julian Assange's Wikileaks site has completely revealed all of its holdings via some 1.73 GB document of text that one can find on a file-sharing site using a password that is findable somewhere on the internet. Crazy stuff. I have no desire to actually go through any of that (that's a huge document) but the particular passage this Tumblrer came across was interesting, kind of humorous, and, well, yeah, just really intriguing. (The following is quoted from that Tumblr page; I did not read the Wikileaks document myself.) Here it is:

Shanghai Rocks Out To Sonic Youth
12. (U) In the past year Shanghai has hosted an increasing number of concerts by foreign performers, including the Rolling Stones, James Brown and the Black Eyed Peas. The audiences at all of the concerts have been remarkably consistent, mostly foreigners (of all ages) with few Chinese. As a result, most foreigners expected a similar audience at an April 24 show by New York-based punk band Sonic Youth. Unbeknownst to most (Econoff included) Sonic Youth has a large, devoted following in China.
13. (U) The concert was held at the Shanghai Concert Hall, a historic building in the center of People's Park that primarily hosts classical music concerts. Before the show started the mostly twenty-something clean-cut Chinese audience was seated politely, many still in work attire, most with backpacks, a far cry from the typical Sonic Youth crowd in the United States. There was no alcohol or soda sold, only water. As soon as the lights dimmed, however, pandemonium erupted.
14. (U) The Chinese security seemed unsure how to react; for the first hour every time they tried to control the audience, the band would castigate them. Five minutes into the show the audience rushed the stage but the security stopped the surging crowd and aggressively pushed the audience back to their seats at which point the band stopped singing and asked the security to let the crowd approach the stage. Security held firm until a particularly popular song whipped the crowd into such a frenzy that it overwhelmed the security guards and the audience took over the stage pit. As the concert went on, security eased up more and more so that by the end they were allowing stage diving.
15. (U) According to Lilo Wang, a 24-year old accountant, who spent most of the show in the heart of the mosh pit, Sonic Youth had been popular in China for a long time and within the rock crowd was extremely popular. She said that Shanghai's rock scene was weak because all everyone cared about was making money and they were not passionate about life. She said the cost of the tickets (RMB 480 or USD 62) was worth it and that she hoped more bands like Sonic Youth would come to China and that rock, especially punk, would grow in popularity in Shanghai.
16. (U) Regards from Shanghai.

Pretty crazy, huh? I'm trying to picture what it must have been like to be at that show, both as a foreginer and as a native Chinese, closet Sonic Youth fan. Wild. Music is a universal language, folks. I wonder what that "particularly popular song" was that "whipped the crowd into such a frenzy". Any guesses? It's probably "Teenage Riot", but I'd rather play "Washing Machine" here. My friend and sole office mate has the actual washing machine-featuring blue t-shirt from the album cover (see above photo) and he wears it a lot, so it's always on my mind, and we have a good time tossing each other quarters and saying "Hey honey, here's a quarter. Go put it in a washing machine." Ahhhh, I guess you just have to be there. I found this awesome live version of "Washing Machine". Check it out.


"This is a song about the future. It's called 'Washing Machine'."

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Sonic Youth on the web: Website / Facebook / Twitter / Wikipedia
Buy Washing Machine: SYR Store / Insound / Amazon / iTunes / eMusic

Jam of the day: "I'm Not A Young Man Anymore"

Artist: The Velvet Underground
Album: Live At The Gymnasium 1967 (live bootleg)
Song: "I'm Not A Young Man Anymore"

There is no other band for which I will so fervently track down bootlegs than The Velvet Underground. I was super late to the party on The VU (my friend introduced them to me in college—sophomore year, I think) but I was really drawn to them and scoured the web for anything I could find. I got ripped CD copies of their studio LPs from said friend, including a version of the Live 1969 album that has a 30-second long skipping section during "New Age" that is, at this point, so much a part of the song for me that when I played that version on vinyl when that friend visited me last month we both thought it sounded really odd for some reason. Yeah, we listened to it that much. I remember finding some freakin' .ra files or something crazy of some live show in Cleveland, I think, from 1969 that included a sweet jam of "Can't Stand It". See, I still remember this, even though I've long since lost track of the file itself, let alone the source. I bought the CD box set version of The Bootleg Series, Volume 1: The Quine Tapes when it came out, and that may very well be the last CD I bought. I really can't remember, but that was also at a time in my life when I hardly ever spent money on music. Obviously, things have changed greatly since then.

So, a couple years ago, a bootleg surfaced of recordings of The VU from early 1967 at The Gymnasium, a NYC venue. I somehow missed out on that hot news item until like 4 months ago, when I spotted the album on some blog post about the best internet bootlegs of all time, when I downloaded it and listened. It's the grungiest, garage-iest, and rocking-est that The VU can possibly be, really, and featues early versions of three album cuts ("I'm Waiting For The Man" and "Run, Run, Run" and "Sister Ray") and a previously-released B-side ("Guess I'm Falling In Love", an instrumental version of which appears on Another View, and a regular version of which appears on the Peel Slowly and See box set) and … the topic of discussion: "I'm Not A Young Man Anymore", a track that appears nowhere else in The VU's vast canon! Hot diggity doggety dag! I've jammed that album a number of times in the last few months after downloading it (which you can download here or here) and they are all awesome versions of these songs. But that is the only reason I would know the song "I'm Not A Young Man Anymore".

Imagine my surprise, then, when I'm sitting at Jitters, in Shadyside, just three or four days ago, when this very song comes on over the house speakers, on the barista's playlist! I started humming/singing along, and I really wasn't quite sure why. I knew instantly it was a VU song, but I couldn't even remember that it was from this bootleg. Imagine my even further surprise, then, when I'm at a concert earlier this evening (to see The Black Lips at Mr. Small's) and the opening band, Night Beats, announces, "This one's a cover song …" and launches right into a heady jam of this very song! I never even knew about this song until a few short months ago, then totally forgot about it, then was reminded of it twice within a week. That is coincidental, my friends (not ironic, mind you).

So in any event, behold, below, in static video but impressively plastic audio formats, The Velvet Underground's song, "I'm Not A Young Man Anymore".



Bonus! Dean Wareham and Britta Phillips, as Dean & Britta, covered this song for their album 13 Most Beautiful … Songs For Andy Warhol's Screen Tests, which soundtrack a series of short films made by Andy Warhol consisting of closeup footage of some of the characters that hung around his "factory" back in the day, of which Lou Reed was a prominent member. For Lou's closeup footage, D & B cover this very tune. Check out that version below.



Oh, FWIW, the Night Beats version was all well and good, great for the live setting in which we were in, but for the most part a more "faithful" cover than D & B's version, which made me like it way more at the time, but slightly less now, in just-a-few-hours-even retrospect. So there's that.

Upcoming concert: Son of the Sun / Wednesday June 15 @ Smiling Moose

It's no secret that I dig garage rock and psychedelia and all that good 60s stuff. I can't seem to get enough of it, and plenty of bands are giving those genres a go (tell me you accidentally read that as "gone-ruhs" so it's alliterative, like I did after writing it), so I like to catch any new stuff that fits that style, but somehow I missed seeing Son of the Sun in my inbox until just now. And they're playing in town at the Smiling Moose on the South Side tomorrow (Wednesday) night, June 15. So if you got locked out of that sold out Cults show, are in the mood for some genuinely soulful psych rock, are just looking for a place to hang out and catch some tunes, or some combination of all of the above, look no further. Doors are at 9:00 and show at 9:30, only $5.



Son of the Sun are from Buffalo, by way of a California/New York cross-country internet collaboration between two members back in 2007 that evolved into a full quintet in upstate New York, an EP in early 2008, an LP in mid 2010, and another EP set to be released next month. I gave a listen to a few tracks from each album and was pleasantly surprised by a number of things: the production quality, the atmospheres, the development from record to record, and the incorporation of heartfelt soul elements and lyrics into some genuine rockers. Their Before the After EP sounds kinda lethargic and languid, but that's probably because I listened to their more recent stuff first. "Big Record Breaker" is hazy and synth/drum machine-driven and comes across almost like an Atlas Sound song, while "Listen Darkly" incorporates some more traditional rock instruments and arrangements but maintains that fuzzy ambience. The Happy Loss is full of guitars, bass and "real" drums, but sustains singer/guitarist Zak Ward's soulful vocals and lyrics. "How Can It Be?" is a rather lovely example of those stylings, "Get Together" kicks off with a rockin' riff and keeps on rollin', and "Stay the Same" has some awesome drums and sounds like an early Kinks tune in a really good way. They've only released one song from the newest album, the Almost Not There EP, entitled "My Best Mistake", and if it is a mistake, then it's a pretty durn good one. I hear some elements of early hits by The Byrds in the percussion and rollicking bass lines, but the songwriting and singing is decidedly more modern, almost like Wilco meets The Killers, if that makes any sense. Just give it a listen:



Two Pittsburgh bands are playing at the show, as well: Psychic Boots and Yours Truly, both new to me. I jammed a few Psychic Boots tunes on their Bandcamp page ("name your own price" for the EP!) and they've got a similarly solid garage rock/psychedelia blend going on, but definitely a little heavier on the garage, a little rougher around the edges, but in a fun and sloppy-for-the-hell-of-it kind of way. That page has a little synopsis at the bottom that I'd like to quote and politely disagree with, but really only to support the implied tone that they'd like to do something about the claim contained therein:

Rock n' Roll is your dad's music. All its original practictioners are now old, uncool, or dead. Rock n' roll is no longer a vehicle for teenage rebellion, it's now beat music for the geriatric set. Its original intentions are gone, the youthful and sexual connotations are gone!

The tags on Yours Truly's Bandcamp page are "crunk-hop crunkcore indie pop progressive rock progressive rock". Interesting, and the songs bear that out. They're ebullient with punk/pop energy and harmonized vocals, but also feature some ska-esque brass and indie-emo-rock guitar/bass lines. Intriguing mix. Also, don't confuse them with the San Francisco-based music/film/art collective of the same name.

Son of the Sun on the web: Website / Facebook / Twitter / Bandcamp

Psychic Boots on the web: Facebook / Bandcamp

Yours Truly on the web: Facebook / Twitter / Bandcamp / YouTube / Feature/interview with Pgh Music Report, July 2010

Cover jam of the day: "I'm Set Free"

Artists: Woodpigeon & Weathered Hand, and Yo La Tengo (covering the Velvet Underground)
Song: "I'm Set Free"

A big part of the reason I love the VU is that they can play a song like "Sister Ray", a 17-minute hard-rockin' jam of a tune about a busted drug-addled orgy in a NYC hotel room, but they can also play a gorgeous, flowery tune like "Sunday Morning". It's almost not fair that they had the talent and wherewithal to flip-flop like that from song to song on their recorded output, but sobeit. The reason I bring this up is that it is Sunday morn-.... well, it's Sunday afternoon, but I started thinking about this while it was still technically morning, and I was out late last night to see Deerhoof and then hang out drinking with some friends, so cut me some slack. But I was just sitting here sipping coffee and scanning Google reader and Facebook and I saw that Daytrotter had posted the VU song "Sunday Morning" on their Facebook page, appropriately enough, and then I starting thinking about similar sweet-sounding songs of theirs and then I remembered I found this Woodpigeon cover on their blog a few weeks ago and have been meaning to share it, and then I found this YLT version when I typed "I'm Set Free" in Banshee since I forgot they even recorded this one! Yikes, that's a lot of thinking, but the conclusion is that you get to hear/see three different versions of this song.


The original has some nice, soft, melodious guitar strumming from Lou and Sterling, plus Lou's lead vocals and some backing "oohs" and "aahs" leading into the choruses (from Doug Yule, I'm guessing), and all the while Mo's metronomic drumming alternates from fast/loud to slow/quiet in just the right way to match the mood of the song. It's perfect and uniquely VU-ish.


The Woodpigeon & Weathered Hand version is even softer and quieter, played on acoustic guitar(s) and viola (I think), sans drums, but adding a little bit of electrified guitar during the solo. I've really enjoyed all of the Woodpigeon albums I've heard so far; they play wonderful folk-tinged pop songs and the singer's voice is lovely. I don't know anything about Weathered Hand, but I will be sure to investigate in the near future. Looks like they've combined forces here to create a wonderful cover version, brimming with wistful, ethereal vocals and folksy strumming and beautiful strings. It's also perfect for Sunday morning/afternoon listening. Check out a live version of them playing this song here.


The Yo La Tengo version is a bit more in line with the original version than the previous one, but just hearing Ira Kaplan sing these lyrics is pretty cool, in my book. I notice that they almost entirely scrapped the drums on this one; I can only hear some soft tapping every once in a while in the beginning and they build a little bit as the song progresses, but not by much. I like their take on the guitar part and solo, too, and Georgia's backing vocals wafting in from the background is lovely. Genius + Love = YLT, indeed, and here's your evidence.

Be sure to check out Woodpigeon and buy some albums, I highly recommend them (especially Die Stadt Muzikanten). And while you're at it, check out some other random cover versions of this song I happened to stumble on while writing this up: Beck & Thom Yorke [live], Terry Bickers & Bradleigh Smith, Arthur & Yu, Evan Dando (from the Lemonheads) [live]. I actually really like that last one by Evan Dando, especially how he starts to sing the guitar solo (haha) and then plays it.. I should have wrote about that, but I just found out. Anyway, there are tons more out there. Comment and share some good ones!

Video jams: Local concert footage (Big Snow Big Thaw, Pet Clinic, Nik & the Central Plains, Horse or Cycle, MOIP, etc.)

Just wanted to alert yinz to my YouTube page where I've been posting footage from local concerts here in Pittsburgh (plus some random mp3s that I thought needed to exist on YouTube). Some of the earlier ones were taken on my Android phone and have terrible audio quality; sorry about that. But recently, for Xmas, I acquired a Flip video camera, which takes lovely HD video footage. I don't know the technical audio specs, but it sounds pretty good, particularly acoustic/quiet stuff; loud rockin' sounds test the limits a little bit, depending on how close I was standing to the amp. Bottom line, though: I now have a small, portable, convenient way to take up to 1 hour of HD video/audio at concerts! It's now a goal of mine to record a full set of all of the local bands that I feel others out there should be able to experience in a live setting. (Of course, this relies on me getting a good view and the set being <= 60 minutes, so I'll do what I can.) Watching these is certainly not the same as getting out and seeing them, but it's a pretty good approximation, especially if you don't live around here or what have you. I've embedded below some of the most recent ones, and I'll let you explore my YouTube channel for some others. Enjoy!

Big Snow Big Thaw
at Club Cafe, Thursday February 03, 2011

Part 2 is here.

Pet Clinic
at Thunderbird Cafe, Saturday January 29, 2011

Part 2 is here. Be sure to watch the closing number of Part 2. It's an epic 7 minute song and well worth watching.

Nik & the Central Plains
at Howlers, Friday January 14, 2011

Part 2 is here and Part 3 is here.

Horse or Cycle
at Howlers, Friday January 14, 2011

(They were opening for Nik & the Central Plains so I just taped this one song, this time.)

Meeting of Important People
at Carnegie Lecture Hall in Oakland, Saturday January 15, 2011

(They were opening for Dean & Britta playing Galaxie 500, so I just taped a handful of songs: "I Know Every Street", "Single Girl, Married Girl", "Boys [Beatles cover]", "Our Love", "Broken-Down Storefront". Be sure to check out some of the Galaxie 500 tunes, too: "When Will You Come Home", "Don't Let Our Youth Go To Waste", etc.)

Cover jams: Raveonettes & Black Angels / "Aly, Walk With Me"; Wooden Shjips & LCD Soundsystem / "Drunk Girls"

I'm presenting two jams here, one of them a strict cover version by neo-pyschedelic rock-jam band Wooden Shjips of neo-electronic/dance-rock band LCD Soundsystem's upbeat single "Drunk Girls", and one of them a live version of neo-pscyh-synth-tronic rock band The Raveonette's song "Aly, Walk With Me" played by the band and members of the neo-psychedelic rock-pop band The Black Angels. So yeah, that's a lot of genre labeling and bending, but the truth of the matter is that I sincerely enjoy all 4 of these bands; specifically, The Black Angels put out one of my absolute fave LPs in 2010, I've been a Raveonettes fan for a while thanks to eMusic and a Wooden Shjips fan for a while thanks to random interwebz connectionz and an LCD Soundsystem fan-ish for a little while thanks to their last album (the rest? meh, I say). So yeah, I'm saying "So, yeah" again; also, I'm reiterating the fact that these are great bands.

This version of "Aly, Walk With Me" was performed at the Austin (Texas) Psych Fest in 2010. If there is a festival that I would love to attend, it's this one. Fuck Coachella and Pitchfork and Primavera and all that jazz; this shit is right up my alley. And here are two of my favorite bands performing, together, one of my favorite songs. Awesome. Here's the live "cover" version

and here's the original version.

(Bonus track! Here's an acoustic version by the band, posted by my friend Rumi on my Facebook wall tonight, and part of the inspiration for this post.)

And now, let's consider LCD Soundsystem and Wooden Shjips. The latter is an awesomely-psychedelic, guitar-heavy rock band, and I love 'em. And you know all about the former, and if not, just Google 'em. Here's the Wooden Shjips version

and here's the orginal. ("Embedding disabled by request", says YouTube. Says who? The band? YouTube? Google? Big Brother? WTF?)
So certainly, the video of the LCD S version is better, as in, it exists, but don't let that detract from the WS version, which absolutely fucking rocks the ghee-tarr.

So there ya have it. Enjoy these jams. And for the future, please share your jams with me, covers or otherwise. I like 'em all.

Cover jam of the day: "Transmission"

Artist: Girl In A Coma (covering Joy Division)
Song: "Transmisison"

This is a great song. It is uniquely Joy Division and no one else can sound like this: the pounding, piston-pumping drums, the heavy, throbbing bass, the fancy but unassuming guitar solos and, of course, Ian Curtis' unmistakable voice (and dance moves, here). That's why a cover represents dangerous territory (try to mimic their style and you'll likely fail) and also why this version succeeds. In no way does it sound like the original (save for the chords and lyrics, of course) but it siphons all of the raw power and emotion from the original through this reworking of the sound. Singer Jenn Alva's voice starts out with a mere whisper, but by the time of the climactic verse in the middle (corresponding with Curtis' wild dance in the video below) she has to press her hand to her forehead and squeeze her eyes shut to keep from, presumably, becoming overwhelmed. (Or maybe she sang so loud that she gave hereself a headache. I don't know.) Meanwhile, the tambourine, finger-snaps and xylophone give the song a really neat personal touch. This is what a cover song should do.

Watch the band perform it live here:



and here's the original, filmed live on the BBC:



On a related note, I'll recommend the fantastic biopic of Ian Curtis, entitled Control. It's tasteful and artful, all b&w and with fantastic casting and acting. Sam Riley does an outstanding job portraying Curtis' inner turmoil and epilepsy. Really well-done, seriously. (And imdb tells me he's playing Jack Kerouac's persona, Sal Paradise, in the upcoming film version of On The Road!?! Gotta see that.)

Video jam: Bad Books / "Baby Shoes"

Kevin Devine and Manchester Orchestra have teamed up to form Bad Books, and I like it. I remember listening to Manchester Orchestra's You Brainstorm, I Brainstorm, but Brilliance Needs a Good Editor EP a few years ago (can't recall how I stumbled upon it) but then kinda lost track of the band until now. I've heard this song and the one featured on Draw Us Lines earlier this year and dig them both, even though they differ greatly in the rockin' versus acoustic vibe. I think this live version caught my ear more, and I really like how they switch around from soft strumming and vocals to all-out jamming rock and back and forth again. The lyrics are interesting and engrossing, too. I won't get into what I think they might mean (because I'm not really sure), but I definitely like how they make me think deeply while I bob my head along with the rhythm and then have my train of thought get derailed by the squealing guitar parts and have to pick it back up again and then the song is over and I just hit "replay". Yeah, it's good.



[Found this on Spinner's website, where it says this was recorded at a party/show during CMJ this past fall.]