Tuesday, March 23, 2010
Interview - Seabear
In case you missed it, which you probably did since I completely forgot to post it here, I did an interview with Seabear for Corduroy Magazine's blog. You can read it here.
Monday, December 28, 2009
2009 End of the Year List
I feel almost unqualified to make a year-end list for 2009. I've been slowly working my way back into music, and I barely scratched the surface of what was released this year. So, consider this a partial list, and please feel free to tell me about someone I'm missing, or leave your own lists in the comments.
01. As Tall As Lions - You Can't Take It With You
As Tall As Lions have long been branded "the American Radiohead," and with this album they have taken that title and run with it. YCTIWY is highly atmospheric, deeply introspective, and extraordinarily beautiful. They've expanded their sound to create a world of their own, and this album invites you along for the trip.
02. Manchester Orchestra - Mean Everything To Nothing
To be honest, it took a long time for me to like this album. I am so attached to I'm Like A Virgin Losing A Child that it was difficult to let new MO songs in. Once I got it, I got it though. Careening between calm and rabid, METN is a dirty, messy rock album about things that shake your core. I am so excited to watch these guys get better and better.
03. fun. - Aim & Ignite
I'm pretty much on board with anything that former Format members are up to, but fun's debut album also makes my list on its own accord. Though not musically that far removed from Dog Problems, this album is clearly a separate entity. The creative instrumentation and the way Nate Ruess deftly guides the listener through his wide range of emotions is what makes this album great.
04. Brand New - Daisy
Continuing in the vein of The Devil And God Are Raging Inside Me, Brand New gives us a darker album, full of ruminations on marriage, death, and learning how to grow up. Jesse Lacey does less and less actual singing with each album, but it works here. His raw emotion is what carries this album, and you can't help but feel like you're falling down the rabbit hole with him.
05. Yeah Yeah Yeahs - It's Blitz!
In the past, I've always liked what I heard from the Yeah Yeah Yeahs, but never enough to latch onto a whole album. With It's Blitz!, Karen O gives us a few of the ragged songs she is known for, but she also shows us a more focused side of herself. The band easily could have gotten stuck in a rut, but instead they tried some new things and polished older ideas into something new and exciting. This album isn't perfect, but it sets the stage for something great.
06. Avett Brothers - I And Love And You
This band came way out of left field, at least for me. I'm a relative newcomer to the stripped down, folky sound, and the Avett Brothers show everyone how it's done with this album. So many songs on the record are just completely heartbreaking, and that's a good thing.
07. Thrice - Beggars
Thrice could have continued in a thousand directions after The Alchemy Index, but they chose to start anew. The band is working as a tight, cohesive unit, while opening up to a broader rock sound. Thrice have always pushed their limits to make themselves better, and Beggars is no exception.
08. Sherwood - Qu
Listening to Qu feels like hugging an old friend. Sherwood took everything that worked for them in the past and dropped everything that didn't (cough "Alley Cat" cough). It's clearly crafted with love, and sounds just like an evening bonfire on a California beach - warm and inviting.
09. Wilco - Wilco (The Album)
I think Wilco finally stopped trying to find a niche, and instead just decided this is who they are and they're sticking to it. Wilco recalls the pre-Yankee Hotel Foxtrot days, but this time the band appears to actually be enjoying it. Sure, everyone's saying But It's Not Perfect...but who cares? It's a good album with good songs, and as long as Jeff Tweedy's happy, so am I.
10. Portugal. The Man - The Satanic Satanist
I wasn't thrilled with last year's Censored Colors, but this album restored my faith in this band. Intricately wrought instrumentation combined with John Gourley's vocal acrobatics create P.TM's trademark acid trip of a style. Their winding, erratic songs make this album easy to get lost in.
01. As Tall As Lions - You Can't Take It With You
As Tall As Lions have long been branded "the American Radiohead," and with this album they have taken that title and run with it. YCTIWY is highly atmospheric, deeply introspective, and extraordinarily beautiful. They've expanded their sound to create a world of their own, and this album invites you along for the trip.
02. Manchester Orchestra - Mean Everything To Nothing
To be honest, it took a long time for me to like this album. I am so attached to I'm Like A Virgin Losing A Child that it was difficult to let new MO songs in. Once I got it, I got it though. Careening between calm and rabid, METN is a dirty, messy rock album about things that shake your core. I am so excited to watch these guys get better and better.
03. fun. - Aim & Ignite
I'm pretty much on board with anything that former Format members are up to, but fun's debut album also makes my list on its own accord. Though not musically that far removed from Dog Problems, this album is clearly a separate entity. The creative instrumentation and the way Nate Ruess deftly guides the listener through his wide range of emotions is what makes this album great.
04. Brand New - Daisy
Continuing in the vein of The Devil And God Are Raging Inside Me, Brand New gives us a darker album, full of ruminations on marriage, death, and learning how to grow up. Jesse Lacey does less and less actual singing with each album, but it works here. His raw emotion is what carries this album, and you can't help but feel like you're falling down the rabbit hole with him.
05. Yeah Yeah Yeahs - It's Blitz!
In the past, I've always liked what I heard from the Yeah Yeah Yeahs, but never enough to latch onto a whole album. With It's Blitz!, Karen O gives us a few of the ragged songs she is known for, but she also shows us a more focused side of herself. The band easily could have gotten stuck in a rut, but instead they tried some new things and polished older ideas into something new and exciting. This album isn't perfect, but it sets the stage for something great.
06. Avett Brothers - I And Love And You
This band came way out of left field, at least for me. I'm a relative newcomer to the stripped down, folky sound, and the Avett Brothers show everyone how it's done with this album. So many songs on the record are just completely heartbreaking, and that's a good thing.
07. Thrice - Beggars
Thrice could have continued in a thousand directions after The Alchemy Index, but they chose to start anew. The band is working as a tight, cohesive unit, while opening up to a broader rock sound. Thrice have always pushed their limits to make themselves better, and Beggars is no exception.
08. Sherwood - Qu
Listening to Qu feels like hugging an old friend. Sherwood took everything that worked for them in the past and dropped everything that didn't (cough "Alley Cat" cough). It's clearly crafted with love, and sounds just like an evening bonfire on a California beach - warm and inviting.
09. Wilco - Wilco (The Album)
I think Wilco finally stopped trying to find a niche, and instead just decided this is who they are and they're sticking to it. Wilco recalls the pre-Yankee Hotel Foxtrot days, but this time the band appears to actually be enjoying it. Sure, everyone's saying But It's Not Perfect...but who cares? It's a good album with good songs, and as long as Jeff Tweedy's happy, so am I.
10. Portugal. The Man - The Satanic Satanist
I wasn't thrilled with last year's Censored Colors, but this album restored my faith in this band. Intricately wrought instrumentation combined with John Gourley's vocal acrobatics create P.TM's trademark acid trip of a style. Their winding, erratic songs make this album easy to get lost in.
Monday, November 16, 2009
Brand New, Thrice, & Crime In Stereo 11/14/09
Brand New, Thrice, and Crime In Stereo at the Electric Factory, 11/14/09.
This was night one of two sold out shows at the Electric Factory in Philadelphia. It was also Thrice's last night on the tour (Glassjaw joined the following night). I knew it was going to be a great show at a great venue, and I was not disappointed.
Crime In Stereo was the opening band. I'd heard good things about them, so I was interested to see them. While they had a lot of energy, none of it translated to the crowd - everyone stood stock still while they played. Their singer had a great raw voice, but he just couldn't get the crowd into it. Maybe the crowd was just saving themselves for the headliners. They did note that they were from Long Island, which is probably why they were on the tour. Unfortunately, it's not the first time I've been less than impressed with Brand New's opening act - I actually fell asleep during Colour Revolt's set a few years ago. CIS' set list was:
*new song*
Small Skeletal
XXXX (The First Thousand Years Of Solitude)
Third Atlantic
But You Are Vast
*new instrumental*
Almost Ghostless/Above The Gathering Oceans
Orbiter
I was very excited for Thrice since I've never seen them before (gasp!) and I have been listening to them for a long time. They came barreling out of the gate and hardly stopped at all. Dustin Kensrue sounded great, and their set was efficient, for lack of a better term. This band clearly knows what they're doing. I was a little disappointed that they didn't play "The Artist In The Ambulance," but I wouldn't want to play one song every night of my life either.
Of Dust and Nations
Silhouette
All The World Is Mad
The Weight
Helter Skelter (Beatles cover)
In Exile
Doublespeak
A Song For Milly Michaelson
The Arsonist
Beggars
After pushing the break between sets as far as they could, Brand New finally came on stage. It was every bit as good as it always is. Jesse Lacey's voice sounds more raw every time I see them - I'm not sure if it's for effect, or if his voice is just that torn up. They used almost exclusively their own lighting setup - white spotlights from the ceiling, the tops of their amps, and on the floor behind them, plus warmer yellow lights behind them on the side. It created a welcoming but eerie feel. About halfway through the set during "Vices," a projection screen kicked in and began showing disjointed black and white images. I'm not sure if they meant it to begin during that song, or whether that was a technical malfunction. Can anyone comment on that? However, I did this it funny that they used Lyndon Johnson's 1964 "Daisy" campaign ad during the song of the same name. They also appeared to be filming for a live DVD or something - there was one guy running around with a video camera and another with a handcranked camera.
Welcome To Bangkok
Sink
Degausser
You Won't Know
Okay I Believe You, But My Tommy Gun Don't
Sic Transit Gloria
Jude Law And A Semester Abroad
Seventy Times 7
Limousine
Vices
Gasoline
Daisy
Sowing Season
Archers
You Stole
Jesus Christ
Bought A Bride
At The Bottom
Play Crack The Sky
I think they did a great job of pulling from all their albums, especially Your Favorite Weapon. The crowd of course FREAKED OUT when we were presented with "Jude Law And A Semester Abroad" and "Seventy Times 7" back to back. I thought it interesting that they opened with "Welcome to Bangkok" since they had taken to closing with it. And while they did have a second drummer on stage with them, notably missing was the group jams with a dozen or more people. That is not to say that the show suffered because of it, but it was just different. There was still force and passion behind the songs - very much so. I felt that all the songs across all their albums flowed well with each other, despite the older songs being so different from the new songs. Brand New has learned not only to work a crowd, but how to have them eating out of the palm of their hand. As for me, Brand New shows are always a bit of an emotional experience - sometimes for just remembering what a song used to mean to me, and sometimes just for the sheer force of the music. Because of that, I will never miss a tour, even if I have to go to Philadelphia to catch it.
This was night one of two sold out shows at the Electric Factory in Philadelphia. It was also Thrice's last night on the tour (Glassjaw joined the following night). I knew it was going to be a great show at a great venue, and I was not disappointed.
Crime In Stereo was the opening band. I'd heard good things about them, so I was interested to see them. While they had a lot of energy, none of it translated to the crowd - everyone stood stock still while they played. Their singer had a great raw voice, but he just couldn't get the crowd into it. Maybe the crowd was just saving themselves for the headliners. They did note that they were from Long Island, which is probably why they were on the tour. Unfortunately, it's not the first time I've been less than impressed with Brand New's opening act - I actually fell asleep during Colour Revolt's set a few years ago. CIS' set list was:
*new song*
Small Skeletal
XXXX (The First Thousand Years Of Solitude)
Third Atlantic
But You Are Vast
*new instrumental*
Almost Ghostless/Above The Gathering Oceans
Orbiter
I was very excited for Thrice since I've never seen them before (gasp!) and I have been listening to them for a long time. They came barreling out of the gate and hardly stopped at all. Dustin Kensrue sounded great, and their set was efficient, for lack of a better term. This band clearly knows what they're doing. I was a little disappointed that they didn't play "The Artist In The Ambulance," but I wouldn't want to play one song every night of my life either.
Of Dust and Nations
Silhouette
All The World Is Mad
The Weight
Helter Skelter (Beatles cover)
In Exile
Doublespeak
A Song For Milly Michaelson
The Arsonist
Beggars
After pushing the break between sets as far as they could, Brand New finally came on stage. It was every bit as good as it always is. Jesse Lacey's voice sounds more raw every time I see them - I'm not sure if it's for effect, or if his voice is just that torn up. They used almost exclusively their own lighting setup - white spotlights from the ceiling, the tops of their amps, and on the floor behind them, plus warmer yellow lights behind them on the side. It created a welcoming but eerie feel. About halfway through the set during "Vices," a projection screen kicked in and began showing disjointed black and white images. I'm not sure if they meant it to begin during that song, or whether that was a technical malfunction. Can anyone comment on that? However, I did this it funny that they used Lyndon Johnson's 1964 "Daisy" campaign ad during the song of the same name. They also appeared to be filming for a live DVD or something - there was one guy running around with a video camera and another with a handcranked camera.
Welcome To Bangkok
Sink
Degausser
You Won't Know
Okay I Believe You, But My Tommy Gun Don't
Sic Transit Gloria
Jude Law And A Semester Abroad
Seventy Times 7
Limousine
Vices
Gasoline
Daisy
Sowing Season
Archers
You Stole
Jesus Christ
Bought A Bride
At The Bottom
Play Crack The Sky
I think they did a great job of pulling from all their albums, especially Your Favorite Weapon. The crowd of course FREAKED OUT when we were presented with "Jude Law And A Semester Abroad" and "Seventy Times 7" back to back. I thought it interesting that they opened with "Welcome to Bangkok" since they had taken to closing with it. And while they did have a second drummer on stage with them, notably missing was the group jams with a dozen or more people. That is not to say that the show suffered because of it, but it was just different. There was still force and passion behind the songs - very much so. I felt that all the songs across all their albums flowed well with each other, despite the older songs being so different from the new songs. Brand New has learned not only to work a crowd, but how to have them eating out of the palm of their hand. As for me, Brand New shows are always a bit of an emotional experience - sometimes for just remembering what a song used to mean to me, and sometimes just for the sheer force of the music. Because of that, I will never miss a tour, even if I have to go to Philadelphia to catch it.
Wednesday, November 11, 2009
Say Anything, Eisley, Moneen, & Miniature Tigers 11/8/09
Say Anything, Eisley, Moneen, & Miniature Tigers at the Recher Theatre 11/8/09.
It's been years since I've been out the Recher, mostly because it takes so long to get out to Towson. Granted, I was driving there in Friday rush hour traffic, but it was worth it for this show. Say Anything and Moneen are two of my favorite bands, and I'd never seen Eisley, so I was pretty excited.
I had not ever heard of Miniature Tigers before they were announced on this tour. I got to the Recher just as their set began, and it was good. They reminded me a lot of Vampire Weekend, and they had a good time using some odd instruments (I don't think I've ever seen anyone use a rain stick before). I missed the end of their set to go get some food, so I can't tell you much about their set list.
I dashed back in time for Moneen's set. They are one of my favorite bands to see live, since they just have SO much energy. To be fair, this wasn't their best performance - a little rougher around the edges than I've seen in the past. They were still having a good time with it and it was fun to hear their new songs. I don't remember their full set list, but what I can remember is:
Don't Ever Tell Locke What He Can't Do
The World I Want To Leave Behind
Are We Really Happy With Who We Are Right Now
There Are A Million Reasons For Why This May Not Work... And Just One Good One For Why It Will
The Passing Of America
The mood in the room got much more focused and excited when Eisley came on. Their live show was every bit as good as people say it is. The womens' voices blended beautifully together, and they recreated the ethereal feel of their recorded songs. Their set list was something like:
I Could Be There For You
Mr. Pine
The Valley
Golly Sandra
Ambulance
Smarter
Memories
Invasion
Marvelous Things
Many Funerals
I was happy to hear quite a few songs off Room Noises, and of course Max Bemis came out to sing a song he wrote with Sherri Dupree. Despite all the drama their marriage has caused, they really are a cute couple.
The room exploded when Say Anything came on. They had set pieces that looked like the buildings on the new album cover, and the tiny windows even lit up. Max was his usual flamboyant self, and he was genuinely pleased that people were already singing along with the new songs.
Fed To Death
Wow, I Can Get Sexual Too
Alive With The Glory Of Love
It's A Metaphor, Fool
Shiksa (Girlfriend)
Hate Everyone
Yellow Cat (Slash) Red Cat
Have At Thee!
Cemetery
This Is Fucking Ecstasy
Eloise
Woe
Baby Girl, I'm A Blur
Mara and Me
Every Man Has A Molly
Ahhh...Men
*****
Crush'd
Spores
Admit It!!!
I think they did a great job of mixing up the albums, and even if I'm not stoked on the new album, it works well live with the older stuff. The set lasted about two hours with the encore, which was quite a treat, even if I was exhausted by the end of it. I thought about skipping out during the encore, but I'm am glad I stuck around and heard "Admit It!!!" Just hearing Max's voice fall back and hearing the crowd take over was worth it. I'm glad to know they haven't lost it.
It's been years since I've been out the Recher, mostly because it takes so long to get out to Towson. Granted, I was driving there in Friday rush hour traffic, but it was worth it for this show. Say Anything and Moneen are two of my favorite bands, and I'd never seen Eisley, so I was pretty excited.
I had not ever heard of Miniature Tigers before they were announced on this tour. I got to the Recher just as their set began, and it was good. They reminded me a lot of Vampire Weekend, and they had a good time using some odd instruments (I don't think I've ever seen anyone use a rain stick before). I missed the end of their set to go get some food, so I can't tell you much about their set list.
I dashed back in time for Moneen's set. They are one of my favorite bands to see live, since they just have SO much energy. To be fair, this wasn't their best performance - a little rougher around the edges than I've seen in the past. They were still having a good time with it and it was fun to hear their new songs. I don't remember their full set list, but what I can remember is:
Don't Ever Tell Locke What He Can't Do
The World I Want To Leave Behind
Are We Really Happy With Who We Are Right Now
There Are A Million Reasons For Why This May Not Work... And Just One Good One For Why It Will
The Passing Of America
The mood in the room got much more focused and excited when Eisley came on. Their live show was every bit as good as people say it is. The womens' voices blended beautifully together, and they recreated the ethereal feel of their recorded songs. Their set list was something like:
I Could Be There For You
Mr. Pine
The Valley
Golly Sandra
Ambulance
Smarter
Memories
Invasion
Marvelous Things
Many Funerals
I was happy to hear quite a few songs off Room Noises, and of course Max Bemis came out to sing a song he wrote with Sherri Dupree. Despite all the drama their marriage has caused, they really are a cute couple.
The room exploded when Say Anything came on. They had set pieces that looked like the buildings on the new album cover, and the tiny windows even lit up. Max was his usual flamboyant self, and he was genuinely pleased that people were already singing along with the new songs.
Fed To Death
Wow, I Can Get Sexual Too
Alive With The Glory Of Love
It's A Metaphor, Fool
Shiksa (Girlfriend)
Hate Everyone
Yellow Cat (Slash) Red Cat
Have At Thee!
Cemetery
This Is Fucking Ecstasy
Eloise
Woe
Baby Girl, I'm A Blur
Mara and Me
Every Man Has A Molly
Ahhh...Men
*****
Crush'd
Spores
Admit It!!!
I think they did a great job of mixing up the albums, and even if I'm not stoked on the new album, it works well live with the older stuff. The set lasted about two hours with the encore, which was quite a treat, even if I was exhausted by the end of it. I thought about skipping out during the encore, but I'm am glad I stuck around and heard "Admit It!!!" Just hearing Max's voice fall back and hearing the crowd take over was worth it. I'm glad to know they haven't lost it.
Tuesday, October 27, 2009
Interview - Apl de Ap
I recently interviewed The Black Eyed Peas' Apl de Ap for Corduroy Magazine's blog. You can read the profile I wrote here. Enjoy!
Wednesday, September 30, 2009
Interview - Sherwood
It's been about a year since the last time I spoke with California's Sherwood, so there was lots to catch up on. Read on to see what they have to say about the past year, as well as years yet to come.
PPJ: First, please tell us your name and what you do in the band.
Mike Leibovich:This is Mikey. I play keyboards and tambourine in Sherwood.
PPJ: It's been a few years since A Different Light was released. What's been going on in the meantime?
Mikey: Since A Different Light was released in 2007 we have toured America five times, toured England/Europe three times and spent two weeks touring Japan. We spent the second half of 2008 and the first half of 2009 writing and recording our new record Qu.
PPJ: How did you go about writing songs for Qu? What was the recording process like?
Mikey: For this record we wanted to have more time to flush out songs and be creative with the knowledge that we would chase a lot of dead end roads, but that we would be left with the best of the best. We rented an apartment in Oakland, CA with a sound proof rehearsal studio so that we could spend the better part of seven months writing music full time. We set a schedule for ourselves, put in at least six hours a day (often much more than that), and wrote over 85 songs. When we were finally satisfied with the best twelve songs, we moved down to LA to record with Brad Wood at Seagrass studios for two months.
PPJ: How does Qu differ from your previous releases?
Mikey: Qu is comprised of better written songs. For the first time we really started to see the collective vision for Sherwood come together. There are more vocal harmonies and melodic hooks, more diverse instrumentation, more rock and more pop. The lyrical content of the songs is also much more mature, exploring topics outside of ourselves, more inspired.
PPJ: You guys tour pretty hard for most of the year. How do you find time to create new music while on the road so much?
Mikey: When music is what fulfills you the time just makes itself available. It is difficult to balance the creative part of the job with the business and entertainment side, but it becomes nourishing and cathartic in ways that can't really be ignored.
PPJ: What is it about California that gives it so much airplay in your songs?
Mikey: California (and really the entire West Coast) has been so inspirational to us. We wrote A Different Light while living in a beach house in Mexico for six weeks and spent this record-writing up near the Golden Gate. From Lake Tahoe to San Francisco to Santa Cruz to San Luis Obispo to San Diego....specifically the rolling hills and quiet ocean towns of central California. Just so incredible.
PPJ: What is your favorite part about the whole process of writing, recording,
and touring?
Mikey: Albums have always served as a marker of time for me. Writing an album is such a personal process and marks a period in our lives as the creators. Every record that means something to me has had emotions and memories attached that I hope people will find with this album as well. I still meet people who love to tell me where they were and who they were at the time they were listening to one of our earliest songs, "The Summer Sends its Love," written back in 2003.
PPJ: Why have you stuck with MySpace Records? I don't mean that in a bad way, but surely you've had major labels knocking at your door.
Mikey: MySpace Records has been such a supportive label that I couldn't imagine trying to do what we are trying to do on another label. The staff is like an extended family to us at this point and they give us so much independence. We have really been fortunate retain control of all of our creativity.
PPJ: What happened with The Sherwood Show?
Mikey: Nothing has happened! We are recording several more episodes for a second season. Keep an eye out for them!
PPJ: Do Dan and Joe still work with We Shot The Moon?
Mikey: When Jonathan first started We Shot the Moon he did not have a band with him. Dan and Joe were always just a temporary part of the beginning to help get that first record out. He has a really great band of guys with him full time now.
PPJ: What are your plans leading up to and following the release of Qu?
Mikey: We are just finishing a two week tour supporting Better Than Ezra and begin a tour with Hanson and HelloGoodbye from Oct 1- Nov 12. Our album will be out on Oct 13th, and we may be looking at possibly doing a headline tour early next year.
PPJ: What do you hope people will take away with them when they listen to your music?
Mikey: Ha ha. I have about five cliché sentences that come to mind, about being sincere, or about being classic. But really, I think we made a really good album and I would be delighted to find out what you take away with you.
PPJ: Finally, please tell us three bands you think we should be listening to.
Mikey: Grizzly Bear, Yeah Yeah Yeahs, and Passion Pit. Each of their latest
records are outstanding.
Friday, September 11, 2009
As Tall As Lions at Jammin' Java 9.10.09
I'm pretty sure I've already said as much as I can say about the perfection of As Tall As Lions' live show, so I will just leave you with a few photographs.
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