Monday (September 29) was Calexico and The Cave Singers at the Fonda and they sent a near capacity crowd home satisfied and happy.
I didn't know anything about The Cave Singers who were already into their set when I walked in, but their music drew me right down front. Pete Quirk's voice is somewhere between gravel and sandpaper, which is perfect for the blues influenced, southwestern indie-folk-rock his three-piece band plays. He can also sing quite sweetly if called on. The more I listened, the more I liked. From their focused concentration I could tell these are dedicated musicians who take their music seriously. The Seattle band is on the Matador label and I think they're worth checking out.
Taking the stage at 10, Calexico wowed the audience with their perfectly played renditions of songs, both old and new. They are one of those bands I consider to be more of a music cooperative than just a band. Like Arcade Fire, Beirut or Broken Social Scene, they seem like a small orchestra. All members seem so accomplished, most of them can step forward and play a leading role on certain songs. They all seem to be multi-instrumentalists as well. With seven band member, two trumpets, a violin, bass, keyboards with piano and organ, drums (which have that wonderful kind of hollow sound like on the recordings), slide guitar, etc. etc. it was hard to keep up with it all.
Joey Burns has such a fine, strong voice, he sounds to me quite like one of the best singers I've yet heard. I thought the same thing last time I saw them. And the mix was so superb, his voice rang out, supple and commanding, and yet every whisper could be heard as well. He even commented on the great sound and I wondered if it spurred them on to play longer.
I began the concert right down front and even close the Fonda doesn't let the lead singers vocals get lost being projected out over your head, like so many venues. But why do the perfect asses somehow manage to find me and stand right next to me? At Okkervil River I was next to someone who felt the need to howl like a dog during and after each song. At Calexico I'm by someone who thought this was Riverdance and stomped to the music. Stomped loud and hard! Fortunately the Fonda is big and there's room to move away. I lost my up-front position but still enjoyed viewing the show from a few different vantage points.
I saw them for the first time two years ago on June 13, 2006 at a landmark concert at this same spot when they were out in support of the Garden Ruin CD. Monday they sang songs from earlier recordings, but I was most anxious to hear selections from Carried To Dust, their new CD. I think it's their best work yet and they performed "Bend In the Road", "Two Silver Trees", "The News About William" (such a haunting lyric), "Writer's Minor Holiday" and "Man Made Lake" all sounding beautiful. "Inspiracion" by Jacob Valenzuela, featuring his terrific trumpet work, was a highlight. And "El Gatillo", with Martin Wenk's trumpet and Morricone inspired whistling made me expect to see 'the man with no name' riding up on horseback.
The new material perfectly encapsulates the Calexico sound. The swirling dense sound evokes the American southwest with its dry deserts, rolling tumbleweed, hot sun, orange skys and red rocks. The lyrics are rich and deep, filled with melancholy, hope and longing, reflection and aspiration.
John Convertino and Joey Burns acknowledge and appreciate being surrounded by first class musicians and what a display of talent. It must be a great band to be a part of. Each one is given an opportunity to shine and they really appear to enjoy playing and singing. I mean, this was the last night of the tour and there wasn't a hint of fatigue anywhere.
Coming out for a couple of encore numbers, including the new CD's first track, "Victor Java's Hands", the audience roared it's approval. Joey told us how much he loves L.A. and it's great people. One could see he was both moved and thrilled at our reaction. Another great concert, another great audience, another great night.
whrabbit
Tuesday, September 30, 2008
Sunday, September 28, 2008
My Top Ten September 22 - 28
Here are the CD's I've listened to the most this week:
1. The Broken West - Now or Heaven (Merge) This CD is incredible!
2. Calexico - Carried To Dust (Quarterstick Records)
3. Sara Lov - Three Songs (self release)
4. Darker My Love - 2 (Dangerbird Records)
5. Okkervil River - The Stand Ins (Jagjaguwar)
6. Gangi - A (self release)
7. Fleet Foxes - Fleet Foxes (Sub Pop)
8. Silver Jews - Lookout Mountain, Lookout Sea (Drag City)
9. Thailand - The Remote Controller Absorbs the Place (self release)
10. The Western States Motel - Painted Birds Flying in the Orange Mirror Sun (Firebird Fields Recording)
whrabbit
1. The Broken West - Now or Heaven (Merge) This CD is incredible!
2. Calexico - Carried To Dust (Quarterstick Records)
3. Sara Lov - Three Songs (self release)
4. Darker My Love - 2 (Dangerbird Records)
5. Okkervil River - The Stand Ins (Jagjaguwar)
6. Gangi - A (self release)
7. Fleet Foxes - Fleet Foxes (Sub Pop)
8. Silver Jews - Lookout Mountain, Lookout Sea (Drag City)
9. Thailand - The Remote Controller Absorbs the Place (self release)
10. The Western States Motel - Painted Birds Flying in the Orange Mirror Sun (Firebird Fields Recording)
whrabbit
When Art and Music Collide
Saturday night (September 27, 2008) was the last in a run of six concerts and it may have been the most fun of all. For one thing, it was my first trip to Echo Curio. In a storefront, a few blocks down from the Echo, a shop described as a curiosity shop and art gallery that "strives to funnel local creative energy" (as described on their myspace page) funnelled it like crazy on Saturday night!
I walked in after 9 and The Guppies had just played their first song, so I stepped to the back to listen. This place is very small and people sit around on the floor or on the many available pillows, and sit in rapt attention of the musicians. And the music was this delicate, gentle melody that suddenly exploded into a furious crash of sound, as the band attacked their instruments. After pounding it into the backs of our heads, just as quickly, they scaled it back down to a whisper. They played a terrific set of songs and I could have heard more.
The first person I saw who I knew was Matt from Manhattan Murder Mystery, bouncing to the music in the corner, so I went over and bounced with him. This really is a good band and had the audience eating out of their hand. I was very impressed and introduced myself to The Guppies lead singer, Leo Coronado, who was really nice and shared that they're from all over the southland, not really centrally located.
The venue gets pretty hot during the bands, but everyone piles out onto the sidewalk between sets and it's a great, festive atmosphere out there. What a great audience, everyone so into the music. And inside there's just so much to look at. Art pieces on the walls, handmade clothing, self released CD's, books, and on and on. Got to talk to the people operating the space that night and they make you feel so welcome. It's a very special place.
I didn't know what to expect when the next act set up just a keyboard and assorted equipment. Very is the name of the act and it's actually Brian Cleary of the bands The Movies, Tables & Chairs and Adeline & the Philistines. Beginning with a low rumble, he first built a deep foundation, then slowly added layer upon layer of heavy background ambiance until it flooded your head completely. Just as you're beginning to go numb, he brings in the piano and suddenly your mouth drops open as these cascading rolls of piano work wash over you in waves. I couldn't believe what I was hearing. One could almost visualize these enormous structures being built before your eyes, structures tall and heavy, yet floating in mid air, like in Magritte.
His piano playing is astonishing and I was lost in it. The music is part movie soundtrack, part modern classical, part ambient world music and yet completely unique. It was like a mix of Ravel and Cage, or Morricone and Sondheim, if you can picture that. It made all sorts of music swirl through my head. It was music as art.
Had a great chat with Brian after his set and I asked if he had studied piano his whole life and, when he told me no, he's self taught, I could have dropped down dead! His piano rivalled the best I've ever heard. He also said much of what he plays is improvised. O.K., this was a landmark performance I'll never forget, and that's all there is to it. I got his CD from him and it's filled with wonderful music.
Thailand were on next and this set was accompanied by the Thailand Exotic Specialty Dancer. As they began their set with my favorite "Homeland Insecurity", an unembarrassed and loose limbed dancer provided interpretive movement to the songs. Instead of ruining the set he actually added a new dimension to the artistic nature of the evening as a whole, so, I figured, why not accept it and enjoy it.
I could still enjoy Thailand and their great music and this night all the drumming was handled by a drummer and it gave some songs a rawer feel. It was a real energetic set and they managed to stay focused in spite of the sprite.
Wrapping up the evening was Manhattan Murder Mystery, who performed a brilliant set, not only accompanied by the whirling dervish, but actually blending him into the act. Not like they had much choice, but all transpired with great good humor. I suspect Matt could handle any crowd, but he truly was a master showman this night. The way he positions his mike right out in the crowd makes you feel like he wants everyone to feel like they're in his band. And it works. It also doesn't hurt that his song are really good, too. They feel like such a party band, yet there is nothing sloppy about their playing. Matt has it both ways. Flailing like a madmad and yet never losing sight of the music.
At the end of the evening I was in a state of euphoria...again. After a week like this, filled with incredible artists making incredible music, I begin to think that, that's not such a bad way to live. And as my blog gets read and appreciated by people, I realize I'm doing exactly what I'm supposed to be doing. This community has been so supportive and nurturing, I hope I can give something back. So I just write down what I feel. I'm only pretending to be a writer. Sometimes I feel like it's my pencil that does the writing and I'm just here to hold it.
whrabbit
I walked in after 9 and The Guppies had just played their first song, so I stepped to the back to listen. This place is very small and people sit around on the floor or on the many available pillows, and sit in rapt attention of the musicians. And the music was this delicate, gentle melody that suddenly exploded into a furious crash of sound, as the band attacked their instruments. After pounding it into the backs of our heads, just as quickly, they scaled it back down to a whisper. They played a terrific set of songs and I could have heard more.
The first person I saw who I knew was Matt from Manhattan Murder Mystery, bouncing to the music in the corner, so I went over and bounced with him. This really is a good band and had the audience eating out of their hand. I was very impressed and introduced myself to The Guppies lead singer, Leo Coronado, who was really nice and shared that they're from all over the southland, not really centrally located.
The venue gets pretty hot during the bands, but everyone piles out onto the sidewalk between sets and it's a great, festive atmosphere out there. What a great audience, everyone so into the music. And inside there's just so much to look at. Art pieces on the walls, handmade clothing, self released CD's, books, and on and on. Got to talk to the people operating the space that night and they make you feel so welcome. It's a very special place.
I didn't know what to expect when the next act set up just a keyboard and assorted equipment. Very is the name of the act and it's actually Brian Cleary of the bands The Movies, Tables & Chairs and Adeline & the Philistines. Beginning with a low rumble, he first built a deep foundation, then slowly added layer upon layer of heavy background ambiance until it flooded your head completely. Just as you're beginning to go numb, he brings in the piano and suddenly your mouth drops open as these cascading rolls of piano work wash over you in waves. I couldn't believe what I was hearing. One could almost visualize these enormous structures being built before your eyes, structures tall and heavy, yet floating in mid air, like in Magritte.
His piano playing is astonishing and I was lost in it. The music is part movie soundtrack, part modern classical, part ambient world music and yet completely unique. It was like a mix of Ravel and Cage, or Morricone and Sondheim, if you can picture that. It made all sorts of music swirl through my head. It was music as art.
Had a great chat with Brian after his set and I asked if he had studied piano his whole life and, when he told me no, he's self taught, I could have dropped down dead! His piano rivalled the best I've ever heard. He also said much of what he plays is improvised. O.K., this was a landmark performance I'll never forget, and that's all there is to it. I got his CD from him and it's filled with wonderful music.
Thailand were on next and this set was accompanied by the Thailand Exotic Specialty Dancer. As they began their set with my favorite "Homeland Insecurity", an unembarrassed and loose limbed dancer provided interpretive movement to the songs. Instead of ruining the set he actually added a new dimension to the artistic nature of the evening as a whole, so, I figured, why not accept it and enjoy it.
I could still enjoy Thailand and their great music and this night all the drumming was handled by a drummer and it gave some songs a rawer feel. It was a real energetic set and they managed to stay focused in spite of the sprite.
Wrapping up the evening was Manhattan Murder Mystery, who performed a brilliant set, not only accompanied by the whirling dervish, but actually blending him into the act. Not like they had much choice, but all transpired with great good humor. I suspect Matt could handle any crowd, but he truly was a master showman this night. The way he positions his mike right out in the crowd makes you feel like he wants everyone to feel like they're in his band. And it works. It also doesn't hurt that his song are really good, too. They feel like such a party band, yet there is nothing sloppy about their playing. Matt has it both ways. Flailing like a madmad and yet never losing sight of the music.
At the end of the evening I was in a state of euphoria...again. After a week like this, filled with incredible artists making incredible music, I begin to think that, that's not such a bad way to live. And as my blog gets read and appreciated by people, I realize I'm doing exactly what I'm supposed to be doing. This community has been so supportive and nurturing, I hope I can give something back. So I just write down what I feel. I'm only pretending to be a writer. Sometimes I feel like it's my pencil that does the writing and I'm just here to hold it.
whrabbit
Silver Jews at Echoplex, September 26
Silver Jews made their second Los Angeles appearance ever on Friday (September 26, 2008) at the Echoplex, and it was spellbinding. Suspenseful, frightening, and fraught with great rewards.
We got right up front and when the band came on they took us on a strange and vaguely unsettling trip throught the mind of David Berman. He begins seemingly emotion-free, as he drones into the microphone. But as the words become clear and his delivery intensifies you willingly follow him.
The band is so much more powerful and rocking than on the recordings, they surprise with their amazing sound. The country influence receeds to the background and they really rock out. I haven't been able to get into the new CD, Lookout Mountain, Lookout Sea, as easily as Tanglewood Numbers, but hearing the songs live I could really appreciate them and now I love the new CD. They play so beautifully, the music seems richer, fuller and grander, creating a powerful background for David's ironic and probing poetry and his legendary storytelling.
David Berman, nattily dressed in a brown suit, tall and thin, is a commanding presence. It was great to be up so close, because he comes right out to the edge of the stage to sing to you and often engages in eye to eye contact with his audience. Especially after he removed his glasses and you could look right into his eyes. He seemed to me more relaxed (less tense?) than when I saw him at the Fonda on his first concert tour two years ago on September 12, 2006. But I wasn't as close there.
I would decribe him as mechanically challenged as he wrestled with microphones, stands and wires throughout, but without (except once) losing his vocal contribution. His wife, Cassie, provides a calming and soothing presence for both David and the audience, contributing superb vocal support in addition to her musicianship.
His voice is somewhere between a grumble and a growl, but as soothing as a purr. David Berman took us through "What is Not But Could Be If", Strange Victory, Strange Defeat", Aloysius, Bluegrass Drummer" and "Open Field" from Lookout Mountain, Lookout Sea. "Punks In the Beerlight", "K-Hole" and "I'm Getting Back Into Getting Back Into You" represented Tanglewood Numbers, and random early works rounded out the set.
The whole show flew by in record time. I was floored when I realized they played an hour. It seemed like fifteen minutes! The crowd was overjoyed and David and the band seemed very pleased. For all his awkwardness, he was extremely charming.
I didn't see anyone I knew there, except I was real happy to see Rob Danson of Death To Anders. I should have known he'd be a Silver Jews fan. There's a similar musical and lyrical aesthetic at work in both bands.
This was another very special show in a week full of very special shows. How much can one person stand!
whrabbit
We got right up front and when the band came on they took us on a strange and vaguely unsettling trip throught the mind of David Berman. He begins seemingly emotion-free, as he drones into the microphone. But as the words become clear and his delivery intensifies you willingly follow him.
The band is so much more powerful and rocking than on the recordings, they surprise with their amazing sound. The country influence receeds to the background and they really rock out. I haven't been able to get into the new CD, Lookout Mountain, Lookout Sea, as easily as Tanglewood Numbers, but hearing the songs live I could really appreciate them and now I love the new CD. They play so beautifully, the music seems richer, fuller and grander, creating a powerful background for David's ironic and probing poetry and his legendary storytelling.
David Berman, nattily dressed in a brown suit, tall and thin, is a commanding presence. It was great to be up so close, because he comes right out to the edge of the stage to sing to you and often engages in eye to eye contact with his audience. Especially after he removed his glasses and you could look right into his eyes. He seemed to me more relaxed (less tense?) than when I saw him at the Fonda on his first concert tour two years ago on September 12, 2006. But I wasn't as close there.
I would decribe him as mechanically challenged as he wrestled with microphones, stands and wires throughout, but without (except once) losing his vocal contribution. His wife, Cassie, provides a calming and soothing presence for both David and the audience, contributing superb vocal support in addition to her musicianship.
His voice is somewhere between a grumble and a growl, but as soothing as a purr. David Berman took us through "What is Not But Could Be If", Strange Victory, Strange Defeat", Aloysius, Bluegrass Drummer" and "Open Field" from Lookout Mountain, Lookout Sea. "Punks In the Beerlight", "K-Hole" and "I'm Getting Back Into Getting Back Into You" represented Tanglewood Numbers, and random early works rounded out the set.
The whole show flew by in record time. I was floored when I realized they played an hour. It seemed like fifteen minutes! The crowd was overjoyed and David and the band seemed very pleased. For all his awkwardness, he was extremely charming.
I didn't see anyone I knew there, except I was real happy to see Rob Danson of Death To Anders. I should have known he'd be a Silver Jews fan. There's a similar musical and lyrical aesthetic at work in both bands.
This was another very special show in a week full of very special shows. How much can one person stand!
whrabbit
Saturday, September 27, 2008
So Much Local Music Talent
I spent Wednesday and Thursday (September 24, 25) with local musicians at a couple of terrific shows. Guess I'm not going to see any bad shows this week.
Wednesday night I finally caught one of Aaron Embry's resident nights at Tangier, this week with Eleni Mandell and Sara Lov, and it was a lovely, quiet evening of singer/songwriters, sharply contrasting with the crowd euphoria at the Fleet Foxes show and the super-enthusiastic bunch at the Okkervil River Fonda gig. This was intimate and civilized, in the best sense.
Seeing performers in the front dining room area of this venue is kind of unique, as I said when Inara George and Van Dyke Parks played here in July. The windows to the street with all the foot and car traffic, just reinforces the notion that the music is part of the communitiy and the community is part of the music. Passerbys peer in the window and we inside, look back.
Sara Lov was already on when I walked in and, in an instant, she was able to transform me from a harried individual rushing from the Vermont/Sunset subway station up to Tangier, into a relaxed, mellow music lover. I've been a big fan ever since I saw her at the Knitting Factory with her band, The Devics, a couple of years ago. They were opening for The Black Heart Procession, and she actually joined them for one song. I had just gotten into The Black Heat Procession and was kind of obsesssed with their music for a while (still am) but to hear a female vocalist added to their already extraordinarily beautiful music was thrilling. I just love their dark, dour, funereal, Edgar Allen Poe music.
So, I saw Sara again last April 30 as a solo artist with a back up band. This was during the Fol Chen show at Tangier and she performed all new material I didn't know with a whole new band. I loved the songs, but, at the time, none of it had been recorded yet. I finally got up the nerve to go up and introduce myself one night as she was DJ-ing at the Echoplex during the Sea Wolf show June 19.
Enough backstory. In her characteristic style Sara Lov lured the listener to a deeper, more reflective place with her haunting melodies and the romantic-unsentimental dichotomy of her lyrics. Accompanied by a talented multi-keyboard artist, they played beautifully together, allowing me to hear some of the same songs as with her band last time, but in a simpler form so you could really notice the quality of the writing. The set was bewitching, and I was happy to be able to tell her at the end of the evening how much I admire the consistent thematic thread that flows through all her music. The rueful sadness in her music and the maturity and assuredness of her lyrics make a potent combination.
Eleni Mandell was on next, contrasting nicely with her witty, sophisticated songs that have a slightly country feel. But not too much so. She sings in a clear, strong voice and plays guitar well. Where Sara in more pensive, Eleni Mandell in more uptempo, but the study of romantic entanglements from two perspectives was interesting and instructive. She has such a winning personality that she seduces the audience into appreciation of her musical gifts and I look forward to getting to know her music better.
Aaron Embry took his turn around 11 and this was a stunner for me. To hear the wonderful Amnion song I have come to love so well in a stripped down, solo version, only showed me that they're better than I thought. I am overwhelmed at Aaron's songwiting. Each song contains so many chord and key changes, not to mention the time changes, it should sound like a mess, and yet, Aaron makes it all sound as natural as water cascading down a rolling stream. It's irresistable!
It wouldn't mean much if he weren't such a consumate piano player and superb singer. I was amazed at how easily he could handle he material alone. As a band, Amnion makes the songs seem a complex as a Mozart symphony, but solo they become feats of musical gymnastics for the single performer. He performed songs from the Amnion CD Amen Namo and "Better Day" and a couple I didn't recognize, but all were perfect.
It was late and I am seeing a lot of music this week so I had to get home, but this was such a comfortable, informal music experience with friends I hated to see it end.
Thursday night I went over to KROQ's free "Local's Only" show at Safari Sam's. Arriving well past 9 I had missed The French Semester and Light FM were already on. I'd seen them last April 4 when they played with The Flying Tourbillon Orchestra at Spaceland but they didn't sound like this.
The sound at Safari Sam's is really super and Light FM had a lot more punch than I remembered. Their sunny, California pop songs come at you, one after another, until they lift you with their solid craftsmanship. Josiah Mazzaschi's lead vocals are front and center in their sound, but the rest of the band play so tightly it all meshes together perfectly.
I've missed this band many times over the last year but I'll try to see them again soon.
The Western States Motel celebrated the release of their new EP Painted Birds Flying in the Orange Mirror Sun by playing all the songs plus a sample of songs from the self titled CD that I've had for a long time. Actually, I've seen Carl Jordan's band nearly a dozen times, but only twice with the new line up. They sound just great, and it's interesting for me to hear the old familiar songs with readjusted arrangements. Carl is a talented songwriter and it was the quality of writing that first attracted me to his band.
I got the new EP from Carl and I love the songs. A lot of people have described his music as sounding like riding along a desert highway during magic hour with the windows down, and I couldn't agree more. These songs also have that quality, that particularly southwestern United States sound I like so much. More Mexican-influenced than country-influenced. I'm seeing Calexico Monday, and they personify that genre to me. But I'm glad that we have The Western States Motel right here in Los Angeles for us.
Music is such a comfort in difficult times, and it's just nice to hear a singer say it out loud, "We're living in a fucked up world, and it's one I don't understand!"
Don't forget to vote.
Not crowded, but a nice bunch of fellow bloggers and band members made for a congenial atmosphere. Highlight for me was to get to meet Ashley Jex (Jax) of Rock Insider. Also the great bassist in The (Triumphant!) Monolators. She filled me in on a lot of history of the Los Angeles blogging community and I'm so grateful to be a part of it. But were it not for her, we might not be here at all.
whrabbit
Wednesday night I finally caught one of Aaron Embry's resident nights at Tangier, this week with Eleni Mandell and Sara Lov, and it was a lovely, quiet evening of singer/songwriters, sharply contrasting with the crowd euphoria at the Fleet Foxes show and the super-enthusiastic bunch at the Okkervil River Fonda gig. This was intimate and civilized, in the best sense.
Seeing performers in the front dining room area of this venue is kind of unique, as I said when Inara George and Van Dyke Parks played here in July. The windows to the street with all the foot and car traffic, just reinforces the notion that the music is part of the communitiy and the community is part of the music. Passerbys peer in the window and we inside, look back.
Sara Lov was already on when I walked in and, in an instant, she was able to transform me from a harried individual rushing from the Vermont/Sunset subway station up to Tangier, into a relaxed, mellow music lover. I've been a big fan ever since I saw her at the Knitting Factory with her band, The Devics, a couple of years ago. They were opening for The Black Heart Procession, and she actually joined them for one song. I had just gotten into The Black Heat Procession and was kind of obsesssed with their music for a while (still am) but to hear a female vocalist added to their already extraordinarily beautiful music was thrilling. I just love their dark, dour, funereal, Edgar Allen Poe music.
So, I saw Sara again last April 30 as a solo artist with a back up band. This was during the Fol Chen show at Tangier and she performed all new material I didn't know with a whole new band. I loved the songs, but, at the time, none of it had been recorded yet. I finally got up the nerve to go up and introduce myself one night as she was DJ-ing at the Echoplex during the Sea Wolf show June 19.
Enough backstory. In her characteristic style Sara Lov lured the listener to a deeper, more reflective place with her haunting melodies and the romantic-unsentimental dichotomy of her lyrics. Accompanied by a talented multi-keyboard artist, they played beautifully together, allowing me to hear some of the same songs as with her band last time, but in a simpler form so you could really notice the quality of the writing. The set was bewitching, and I was happy to be able to tell her at the end of the evening how much I admire the consistent thematic thread that flows through all her music. The rueful sadness in her music and the maturity and assuredness of her lyrics make a potent combination.
Eleni Mandell was on next, contrasting nicely with her witty, sophisticated songs that have a slightly country feel. But not too much so. She sings in a clear, strong voice and plays guitar well. Where Sara in more pensive, Eleni Mandell in more uptempo, but the study of romantic entanglements from two perspectives was interesting and instructive. She has such a winning personality that she seduces the audience into appreciation of her musical gifts and I look forward to getting to know her music better.
Aaron Embry took his turn around 11 and this was a stunner for me. To hear the wonderful Amnion song I have come to love so well in a stripped down, solo version, only showed me that they're better than I thought. I am overwhelmed at Aaron's songwiting. Each song contains so many chord and key changes, not to mention the time changes, it should sound like a mess, and yet, Aaron makes it all sound as natural as water cascading down a rolling stream. It's irresistable!
It wouldn't mean much if he weren't such a consumate piano player and superb singer. I was amazed at how easily he could handle he material alone. As a band, Amnion makes the songs seem a complex as a Mozart symphony, but solo they become feats of musical gymnastics for the single performer. He performed songs from the Amnion CD Amen Namo and "Better Day" and a couple I didn't recognize, but all were perfect.
It was late and I am seeing a lot of music this week so I had to get home, but this was such a comfortable, informal music experience with friends I hated to see it end.
Thursday night I went over to KROQ's free "Local's Only" show at Safari Sam's. Arriving well past 9 I had missed The French Semester and Light FM were already on. I'd seen them last April 4 when they played with The Flying Tourbillon Orchestra at Spaceland but they didn't sound like this.
The sound at Safari Sam's is really super and Light FM had a lot more punch than I remembered. Their sunny, California pop songs come at you, one after another, until they lift you with their solid craftsmanship. Josiah Mazzaschi's lead vocals are front and center in their sound, but the rest of the band play so tightly it all meshes together perfectly.
I've missed this band many times over the last year but I'll try to see them again soon.
The Western States Motel celebrated the release of their new EP Painted Birds Flying in the Orange Mirror Sun by playing all the songs plus a sample of songs from the self titled CD that I've had for a long time. Actually, I've seen Carl Jordan's band nearly a dozen times, but only twice with the new line up. They sound just great, and it's interesting for me to hear the old familiar songs with readjusted arrangements. Carl is a talented songwriter and it was the quality of writing that first attracted me to his band.
I got the new EP from Carl and I love the songs. A lot of people have described his music as sounding like riding along a desert highway during magic hour with the windows down, and I couldn't agree more. These songs also have that quality, that particularly southwestern United States sound I like so much. More Mexican-influenced than country-influenced. I'm seeing Calexico Monday, and they personify that genre to me. But I'm glad that we have The Western States Motel right here in Los Angeles for us.
Music is such a comfort in difficult times, and it's just nice to hear a singer say it out loud, "We're living in a fucked up world, and it's one I don't understand!"
Don't forget to vote.
Not crowded, but a nice bunch of fellow bloggers and band members made for a congenial atmosphere. Highlight for me was to get to meet Ashley Jex (Jax) of Rock Insider. Also the great bassist in The (Triumphant!) Monolators. She filled me in on a lot of history of the Los Angeles blogging community and I'm so grateful to be a part of it. But were it not for her, we might not be here at all.
whrabbit
Thursday, September 25, 2008
Okkervil River at the Fonda, September 23
My second in a run of six consecutive concerts continued Tuesday night (September 23) with the Okkervil River show with Sea Wolf and Zykos at the Fonda. There was such a mob outside the theatre it took a long time to get in. Security is tight at this venue, but doesn't involve a strip search like the House of Blues almost does. (By the time I got through their security once, I felt like I was being admitted to Guantanamo) Once inside the Fonda, it wasn't too crowded, but I'd completely missed Zykos.
I watched Sea Wolf from a good vantage point and they delivered another of their characteristically terrific sets. The band is rather quiet and there's very little between song activity, but that seems to be indicative of their reflective nature. They just leave room for applause before launching into the next song. Opening with "Black Dirt", you begin to bob your head, almost involuntarily, to the addictive beat, and you don't stop until their set is done.
This band has such an easy, laid back manner and their music is so satisfying you feel like you're floating on top of a calm ocean with the sun pouring down. From their CD Leaves in the River , they played "Winter Windows", "Song For the Dead", "Middle Distance Runner" and the truly beautiful "Black Leaf Falls" which features that lovely piano part by Lisa Fendelander. Alex Church's vocals are always crisp and clear and I love the way he sings, what is for me, the emotional highlight "I Made a Resolution" from their EP Get To the River Before It Runs Too Low. That song has a powerful narrative that I'm not sure isn't autobiographical, and it's very emotional.
Aaron Robinson provides guitar and much wonderful vocal support, Catherine Odell plays a stunning violin, Theodore Liscinski provides solid bass and Joey Fricken's drumming is the foundation the whole band balances on. Sea Wolf have every element where it needs to be. The audience was most appreciative and cheered loudly at the conclusion of their set.
Okkervil River took the stage just after 11 and played for close to two hours. I'd tried to see them last year when they sold out the Troubadour and now they're selling out the Fonda. The place was packed full of enthusiastic fans.
Will Sheff is a spellbinding performer with a great expressive voice. The six-piece band played songs primarily from The Stage Names and The Stand Ins CDs but included a healthy sampling of earlier work as well. I was happy the sound was so well balanced you could understand Will's lyrics clearly. And with this band, that is imperative because, as another critic has noted, Will Sheff writes lyrics like a novelist. After each song you feel you've finished a short story. Many songs tackle romantic issues but he also isn't afraid of weightier topics, like damaged or destroyed lives or the relationship between the artist and the world at large.
Songs I recognized from The Stage Names included "Unless It Kicks", "A Hand To Take Hold of the Scene", "Plus Ones" and "Our Life is Not a Movie or Maybe" where the audience provided the "whoo-whoos" in the middle of the song, making it sound just like the recording. The crowd went crazy over "John Allyn Smith Sails" especially when it turns into a twisted version of The Beach Boys "Sloop John B". They also did "A Girl in Port", which is such a stunning, heartbreaking song the audience was lost in rapt attention.
The newest CD, The Stand Ins, was represented by "Lost Coastlines", "Calling and Not Calling My Ex", "Singer Songwriter", "Pop Lie" and "Blue Tulip" for one of the encores. Not being familiar with their earlier work, their other songs were strangers to me, but enjoyable nonetheless.
Quite frankly, coming the day after the phenomenal Fleet Foxes concert, any band is going to have a lot to live up to, but Okkervil River acquitted themselves very well.
Will does almost all the singing, with occasional assist from other band members, as he hangs off the microphone, and interacts nicely with the players. His youth surprised me, which belies the maturity of these sweeping sonic vistas and profound lyrics. I was particularly impressed with the piano work of Justin Sherbourne and Scott Brackett's trumpet, which add a lot to both the recordings and the live versions. (Thanks for the correction, Suzanne. Justin replaced the former player. Damned myspace!)
Great lighting and the wonderful, cool, open space in the Fonda, even when it's crowded, made for a really great concert experience. Nice way to see Okkervil River for the first time. I would be happy to see them again.
whrabbit
I watched Sea Wolf from a good vantage point and they delivered another of their characteristically terrific sets. The band is rather quiet and there's very little between song activity, but that seems to be indicative of their reflective nature. They just leave room for applause before launching into the next song. Opening with "Black Dirt", you begin to bob your head, almost involuntarily, to the addictive beat, and you don't stop until their set is done.
This band has such an easy, laid back manner and their music is so satisfying you feel like you're floating on top of a calm ocean with the sun pouring down. From their CD Leaves in the River , they played "Winter Windows", "Song For the Dead", "Middle Distance Runner" and the truly beautiful "Black Leaf Falls" which features that lovely piano part by Lisa Fendelander. Alex Church's vocals are always crisp and clear and I love the way he sings, what is for me, the emotional highlight "I Made a Resolution" from their EP Get To the River Before It Runs Too Low. That song has a powerful narrative that I'm not sure isn't autobiographical, and it's very emotional.
Aaron Robinson provides guitar and much wonderful vocal support, Catherine Odell plays a stunning violin, Theodore Liscinski provides solid bass and Joey Fricken's drumming is the foundation the whole band balances on. Sea Wolf have every element where it needs to be. The audience was most appreciative and cheered loudly at the conclusion of their set.
Okkervil River took the stage just after 11 and played for close to two hours. I'd tried to see them last year when they sold out the Troubadour and now they're selling out the Fonda. The place was packed full of enthusiastic fans.
Will Sheff is a spellbinding performer with a great expressive voice. The six-piece band played songs primarily from The Stage Names and The Stand Ins CDs but included a healthy sampling of earlier work as well. I was happy the sound was so well balanced you could understand Will's lyrics clearly. And with this band, that is imperative because, as another critic has noted, Will Sheff writes lyrics like a novelist. After each song you feel you've finished a short story. Many songs tackle romantic issues but he also isn't afraid of weightier topics, like damaged or destroyed lives or the relationship between the artist and the world at large.
Songs I recognized from The Stage Names included "Unless It Kicks", "A Hand To Take Hold of the Scene", "Plus Ones" and "Our Life is Not a Movie or Maybe" where the audience provided the "whoo-whoos" in the middle of the song, making it sound just like the recording. The crowd went crazy over "John Allyn Smith Sails" especially when it turns into a twisted version of The Beach Boys "Sloop John B". They also did "A Girl in Port", which is such a stunning, heartbreaking song the audience was lost in rapt attention.
The newest CD, The Stand Ins, was represented by "Lost Coastlines", "Calling and Not Calling My Ex", "Singer Songwriter", "Pop Lie" and "Blue Tulip" for one of the encores. Not being familiar with their earlier work, their other songs were strangers to me, but enjoyable nonetheless.
Quite frankly, coming the day after the phenomenal Fleet Foxes concert, any band is going to have a lot to live up to, but Okkervil River acquitted themselves very well.
Will does almost all the singing, with occasional assist from other band members, as he hangs off the microphone, and interacts nicely with the players. His youth surprised me, which belies the maturity of these sweeping sonic vistas and profound lyrics. I was particularly impressed with the piano work of Justin Sherbourne and Scott Brackett's trumpet, which add a lot to both the recordings and the live versions. (Thanks for the correction, Suzanne. Justin replaced the former player. Damned myspace!)
Great lighting and the wonderful, cool, open space in the Fonda, even when it's crowded, made for a really great concert experience. Nice way to see Okkervil River for the first time. I would be happy to see them again.
whrabbit
Tuesday, September 23, 2008
Fleet Foxes at El Rey Sept. 22
I've witnessed nirvana and it's called Fleet Foxes. At their first sold out show at the El Rey on Monday, September 22, 2008, they left their audience in a state of sublime ecstasy not easily shaken off. When the set concluded, the whole room seemed to be glowing and vibrating as people wandered around dazed and happy.
Since I knew I wanted to be up close, I pressured my co-concerteers into getting to the El Rey by 8:30. Walking in, there was already a cluster in front of the stage so we headed right down front and planted ourselves about 6 people deep from center stage. As close as we could get and it turned out to be perfect, both visually and aurally.
Frank Fairfield opened the show and he easily captivated the unsuspecting crowd with his extraordinary gifts as a musician and singer. I wasn't sure how his singular presence would translate in a venue the size of this one. I needn't have worried because, beginning with fiddle, he lulled us into an hypnotic state and transported us to the dust bowl of the 1930's. His intense, authentic sounding vocals perfectly compliment the beautiful drone of his fiddle bowing. Then onto banjo where he excells to a greater degree, and mesmerizes the audience who were shouting and whooping their approval. Picking up the guitar, he played "Hesitation Blues", which I love, and another favorite, "Old Paint", which tells a poignant little tale of a cowboy and his horse.
The audience was nicely respectful (except for some gabbers way in the back) and enthusiastic for this unusual, truly unique artist and I was grateful. Having seen him twice before and having spent some time chatting with him on those occasions, I could tell he was pleased by the crowd's genuine and generous response to his stunning recreation of early American roots music.
During the break the people packed in around us. Like I said, it was sold out. But the crowd was of a mellow and gentle sort, so, even packed in like sardines, everyone was cool (attitude-wise... temperature-wise the place was warm).
The curtains opened just after 10 and the Fleet Foxes blew everyone's mind within fifteen seconds. Robin Pecknold strums a note, and first he, then all the singers tune their voices to that one note before launching into their a capella opener, "Sun Giant". They sing at a glacial pace, compared to the recorded version, that renders the song even more beautiful. Those harmonies sailed out into the El Rey, perfectly miked and perfectly balanced. This was some of the best sound I've ever heard.
They segued into "Sun It Rises" next and the band kicks in full force. That ringing, chiming sound beneath some modern Gregorian chants that are played with a power and intensity that makes their recordings sound tame. I love the recordings because the songs are interpreted precicely and carefully, giving the listener the opportunity to get to know the music in a clean, uncluttered way. But it also enables the band to knock an audience out with the surprising "wham factor" of each song live.
They played almost all the songs from their EP Sun Giant and the Fleet Foxes CD. As the evening flew by, they performed stunning versions of "Drops In the River", "English House", "White Winter Hymnal", "Ragged Wood', "He Doesn't Know Why" and "Your Protector". The band left the stage as Robin performed a couple of acoustic numbers. He played the song I was most sorry not to hear in their sets last June at the Echo and Spaceland, "Tiger Mountain Peasant Song" which is one of their most beautiful songs, both lyrically and musically. The way Robin sings out with passion, grit and such discipline, he never hits a false note.
The band reassembled to finish out their set, ending with "Mykonos". On the EP the song ends in a fade out, but live, they extend the ending to it's lyrical, logical conclusion with some of the most beautiful layered harmony vocals I've ever heard in my life. Exiting the stage to tumultuous applause and cheers, Robin came back out a few minutes later and the audience went wild over his solo,"Oliver James" with it's a capella ending. The other Fleet Foxes joined him for two more songs, one, a new one they had never played before an audience, was practically a highlight of the whole set. And then it was over.
The band seemed so comfortable on stage with far more between song banter that I'd yet seen them engage in. It was almost like listening to how they might interact during a rehearsal, so easy and unforced and unpretentious. Obviously, this is the character of the performers themselves. Even after the set they came out to greet their audience and I got to meet Skyler, the lead guitarist. He was speaking with longtime friends fron the Pacific Northwest, Evan and Brett Marie Way of our now local fabulous Parson Red Heads. Then I met Casey, their keyboardist, who was very gracious as I gushed.
This was a night I'll never forget! Looking around at all the young people in the audience, it was heartening to see them so intently focused on this beautiful music. As I said to my friend, Sue, at a certain point, it felt like falling in love. She agreed. Robin speaks a lot in the liner notes of the CD's about the transformative power of music. If that's what Fleet Foxes are after, they have succeeded brilliantly.
Since I knew I wanted to be up close, I pressured my co-concerteers into getting to the El Rey by 8:30. Walking in, there was already a cluster in front of the stage so we headed right down front and planted ourselves about 6 people deep from center stage. As close as we could get and it turned out to be perfect, both visually and aurally.
Frank Fairfield opened the show and he easily captivated the unsuspecting crowd with his extraordinary gifts as a musician and singer. I wasn't sure how his singular presence would translate in a venue the size of this one. I needn't have worried because, beginning with fiddle, he lulled us into an hypnotic state and transported us to the dust bowl of the 1930's. His intense, authentic sounding vocals perfectly compliment the beautiful drone of his fiddle bowing. Then onto banjo where he excells to a greater degree, and mesmerizes the audience who were shouting and whooping their approval. Picking up the guitar, he played "Hesitation Blues", which I love, and another favorite, "Old Paint", which tells a poignant little tale of a cowboy and his horse.
The audience was nicely respectful (except for some gabbers way in the back) and enthusiastic for this unusual, truly unique artist and I was grateful. Having seen him twice before and having spent some time chatting with him on those occasions, I could tell he was pleased by the crowd's genuine and generous response to his stunning recreation of early American roots music.
During the break the people packed in around us. Like I said, it was sold out. But the crowd was of a mellow and gentle sort, so, even packed in like sardines, everyone was cool (attitude-wise... temperature-wise the place was warm).
The curtains opened just after 10 and the Fleet Foxes blew everyone's mind within fifteen seconds. Robin Pecknold strums a note, and first he, then all the singers tune their voices to that one note before launching into their a capella opener, "Sun Giant". They sing at a glacial pace, compared to the recorded version, that renders the song even more beautiful. Those harmonies sailed out into the El Rey, perfectly miked and perfectly balanced. This was some of the best sound I've ever heard.
They segued into "Sun It Rises" next and the band kicks in full force. That ringing, chiming sound beneath some modern Gregorian chants that are played with a power and intensity that makes their recordings sound tame. I love the recordings because the songs are interpreted precicely and carefully, giving the listener the opportunity to get to know the music in a clean, uncluttered way. But it also enables the band to knock an audience out with the surprising "wham factor" of each song live.
They played almost all the songs from their EP Sun Giant and the Fleet Foxes CD. As the evening flew by, they performed stunning versions of "Drops In the River", "English House", "White Winter Hymnal", "Ragged Wood', "He Doesn't Know Why" and "Your Protector". The band left the stage as Robin performed a couple of acoustic numbers. He played the song I was most sorry not to hear in their sets last June at the Echo and Spaceland, "Tiger Mountain Peasant Song" which is one of their most beautiful songs, both lyrically and musically. The way Robin sings out with passion, grit and such discipline, he never hits a false note.
The band reassembled to finish out their set, ending with "Mykonos". On the EP the song ends in a fade out, but live, they extend the ending to it's lyrical, logical conclusion with some of the most beautiful layered harmony vocals I've ever heard in my life. Exiting the stage to tumultuous applause and cheers, Robin came back out a few minutes later and the audience went wild over his solo,"Oliver James" with it's a capella ending. The other Fleet Foxes joined him for two more songs, one, a new one they had never played before an audience, was practically a highlight of the whole set. And then it was over.
The band seemed so comfortable on stage with far more between song banter that I'd yet seen them engage in. It was almost like listening to how they might interact during a rehearsal, so easy and unforced and unpretentious. Obviously, this is the character of the performers themselves. Even after the set they came out to greet their audience and I got to meet Skyler, the lead guitarist. He was speaking with longtime friends fron the Pacific Northwest, Evan and Brett Marie Way of our now local fabulous Parson Red Heads. Then I met Casey, their keyboardist, who was very gracious as I gushed.
This was a night I'll never forget! Looking around at all the young people in the audience, it was heartening to see them so intently focused on this beautiful music. As I said to my friend, Sue, at a certain point, it felt like falling in love. She agreed. Robin speaks a lot in the liner notes of the CD's about the transformative power of music. If that's what Fleet Foxes are after, they have succeeded brilliantly.
whrabbit
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