I was planning to catch Jake Shimabukuru at Mishawaka next Sunday, but that show was cancelled because of the High Park fire. Aside from that, I'll throw in a brief recommendation to catch my band at Equinox Brewing in Ft. Collins on Tuesday, July 3.
Otherwise, here are the hot shows for the week:
3 July (Moe's Original Bar B Que, Englewood CO)
4 July (Aggie Theatre, Ft. Collins CO)
Dick Dale
Dick Dale is more than just a guitarist. More even than the guitarist that provided Miserlou for the Pulp Fiction soundtrack. No, even at 75, the King of Surf Guitar is a force of nature. He's touring again with his son Jimmy on drums. I've seen him several times, but I'll be bringing my son out to see a master perform music that's still relevant and moving.
Note: the Aggie is cramming in two shows. Dick Dale is the early show, with doors at 6pm and Lucero is playing a later show at 10pm.
5 July (Hi-Dive, Denver CO)
Bad Weather California
I last saw Bad Weather California opening for Akron/Family last year. I enjoyed their garage rock sound, especially their punk energy and Adam Baumeister's slide work. This is a CD release party for their new album, Holophrase. Wire Faces (who opened for El Ten Eleven earlier this year) are opening, presumably with the same mad drumming.
(Artwork care of Karen Ramsay (www.karenramsay.com), profile photo care of brianlackeyphotography.com)
Monday, July 2, 2012
Thursday, June 28, 2012
Recording review - Anywhere, Anywhere (2012)
World-wide psych-prog sounds make a spicy treat
Anywhere started as a collaboration between Christian Eric Beaulieu (Tryclops!, Liquid Indian) on guitar and Cedric Bixler-Zavela (At the DriveIn, the Mars Volta) on drums and vocals. Through fortuitous circumstance, legendary Mike Watt (Minutemen, fIREHOSE) joined in on bass. They rounded out the sound with vocals from Rachel Fannen (ex-Sleepy Sun) and extra guitar work from Toshi Kasai (Big Business).
Anywhere's overall feeling is hypnotic and obsessive, with psychedelic/progressive execution, but each song finds its own stylistic center. Beaulieu's experimentation with Indian raga forms the artistic vision and Bixler-Zavela's heavily syncopated drum work propels the music. Even though Watt came into this project later, his bass lines are the essential glue to tie the pieces together. I'm very familiar with Watt's work with the Minutemen and fIREHOSE, but his playing here is phenomenal.
The second track, Rosa Rugosa, starts with a down tempo backbeat. Between the relaxed rhythm and Fannen's haunting vocals, it reminds me of Dengue Fever's opiated jams. Wandering bits of melody lurk at the edges of this progressive psychedelia. The bridge interlude features some very nice acoustic guitar work before the tempo kicks up. The acoustic and the drums create an Indian flair while the electric guitar ties the jam back to rock. The bass pushes the song forward and the pressure climbs, wrenching loose wisps of vocals. The seven and a half minutes passes all too quickly.
This is where Anywhere shows its pacing. The assertive end of Rosa Rugosa yields to Khamsin's ambient tones. This sectional piece begins with a sound sculpture that acts as a call to meditation with swells of sound and chimes. Once the track transitions into a more traditional song structure, the bass and the drums create an OK Computer era Radiohead progressive feel. Bixler-Zavela's falsetto vocals fit that sound as well: "Tempted, I'm always tempted". Mike Watt's soothing bass counters the rhythmic punch and staccato guitar as it defines the feel of the descending run. Khamsin eventually falls into a sparser sound as the drums drive into heavily syncopated fills. The mix of sounds create a unique vibe. The jerky beat and instrumentation lean towards worldbeat, but with a higher rock energy. Anywhere's press refers to "Eastern acoustic punk" and that might be the best descriptor.
Those cross-cultural bridges continue with Dead Golden West. The foundation is a Western folk rock, but foreign aesthetics creep in. On its surface, it reminds me of retro British folk rock explorations, but the outside influences are stronger: it's like Bon Jovi's Wanted Dead or Alive meets Touré Kunda. Rachel Fannen's vocals are both ethereal and thickened with overdub, softening the track's edges.
Digging through the melange of sounds is like picking individual spices from a masala: retro hints of Gentle Giant, Renaissance, and Jefferson Airplane blend with sharper bits of King Crimson and the Mars Volta. The combined whole, though is just tasty.
Anywhere started as a collaboration between Christian Eric Beaulieu (Tryclops!, Liquid Indian) on guitar and Cedric Bixler-Zavela (At the DriveIn, the Mars Volta) on drums and vocals. Through fortuitous circumstance, legendary Mike Watt (Minutemen, fIREHOSE) joined in on bass. They rounded out the sound with vocals from Rachel Fannen (ex-Sleepy Sun) and extra guitar work from Toshi Kasai (Big Business).Anywhere's overall feeling is hypnotic and obsessive, with psychedelic/progressive execution, but each song finds its own stylistic center. Beaulieu's experimentation with Indian raga forms the artistic vision and Bixler-Zavela's heavily syncopated drum work propels the music. Even though Watt came into this project later, his bass lines are the essential glue to tie the pieces together. I'm very familiar with Watt's work with the Minutemen and fIREHOSE, but his playing here is phenomenal.
The second track, Rosa Rugosa, starts with a down tempo backbeat. Between the relaxed rhythm and Fannen's haunting vocals, it reminds me of Dengue Fever's opiated jams. Wandering bits of melody lurk at the edges of this progressive psychedelia. The bridge interlude features some very nice acoustic guitar work before the tempo kicks up. The acoustic and the drums create an Indian flair while the electric guitar ties the jam back to rock. The bass pushes the song forward and the pressure climbs, wrenching loose wisps of vocals. The seven and a half minutes passes all too quickly.
This is where Anywhere shows its pacing. The assertive end of Rosa Rugosa yields to Khamsin's ambient tones. This sectional piece begins with a sound sculpture that acts as a call to meditation with swells of sound and chimes. Once the track transitions into a more traditional song structure, the bass and the drums create an OK Computer era Radiohead progressive feel. Bixler-Zavela's falsetto vocals fit that sound as well: "Tempted, I'm always tempted". Mike Watt's soothing bass counters the rhythmic punch and staccato guitar as it defines the feel of the descending run. Khamsin eventually falls into a sparser sound as the drums drive into heavily syncopated fills. The mix of sounds create a unique vibe. The jerky beat and instrumentation lean towards worldbeat, but with a higher rock energy. Anywhere's press refers to "Eastern acoustic punk" and that might be the best descriptor.
Those cross-cultural bridges continue with Dead Golden West. The foundation is a Western folk rock, but foreign aesthetics creep in. On its surface, it reminds me of retro British folk rock explorations, but the outside influences are stronger: it's like Bon Jovi's Wanted Dead or Alive meets Touré Kunda. Rachel Fannen's vocals are both ethereal and thickened with overdub, softening the track's edges.
Digging through the melange of sounds is like picking individual spices from a masala: retro hints of Gentle Giant, Renaissance, and Jefferson Airplane blend with sharper bits of King Crimson and the Mars Volta. The combined whole, though is just tasty.
Wednesday, June 27, 2012
June singles
A fine selection for June with bits of pop and heady strangeness.
Amanda Palmer and the Grand Theft Orchestra - Want It Back (from Theatre Is Evil, due September 2012)
Amanda Palmer is riding high with her million dollar Kickstarter success. While everybody is touting crowd-funding now, Palmer's relationship with her fans is the real key. That connection drove this kind of support to pre-pay for her new album. Palmer thanked her backers with a Brooklyn concert/party and she also sent out the album teaser Want It Back.
The heavy synth pop intro sets certain expectation, but they dissolve in the transition to a punchy new wave bounce. Staccato piano, solid bass, and a tight lyrical flow create a clever pop sound. It's impossible to hear without nodding along.
Kat McGivern - Facebook Official (from K@ndy Pop, due Summer 2012)
Kat McGivern's image seems sculpted into a perfect pop package with an indie rock edge. The look, the smooth vocals, and the tight pop arrangements are calculated to appeal. But McGivern's voice occasionally slips up and reveals a touch of rebellious insolence. And unlike the other pop princesses, McGivern has the instrumental chops and writing skills to add some depth to her image. Facebook Official is a cute contender for the summer pop hit, but some of her other originals show more personality. Give a listen at her ReverbNation site.
Yawn - Ganymede (from Happy Tears)
Ganymede has a dreamy psychedelic sheen. Reminiscent of the Beatles' Blue Jay Way, the lazy rhythmic sway is accented with sparkles of guitars. Yawn's gentle underwater groove supports the pretty vocal harmonies. Drift along and remember:
Bear in Heaven - Sinful Nature (from I Love You, It's Cool)
Bear in Heaven has been growing on me over the last couple of years. Their live show two years ago was a darkly intense mix of synth pop and post rock. Since then, I keep catching interesting snippets as they develop their sound. Sinful Nature showcases a heavy feel similar to that show, but Bear in Heaven has developed their ability to architect a song. The synthesizer groove sets an electronic vibe at the start, but this quickly moves into a thick psychedelic sound. Gloss over the vocals and it's a heady Krautrock trek, with a sense of foreboding. Listen to the lyrics and John Philpot's voice almost seems to come from within your own mind.
Yoonha Park's video is inspired by an acid trip viewing of Pretty Woman. The band wanted something "dark, feminine, trippy" and the video delivers.
Amanda Palmer and the Grand Theft Orchestra - Want It Back (from Theatre Is Evil, due September 2012)
The heavy synth pop intro sets certain expectation, but they dissolve in the transition to a punchy new wave bounce. Staccato piano, solid bass, and a tight lyrical flow create a clever pop sound. It's impossible to hear without nodding along.
Kat McGivern - Facebook Official (from K@ndy Pop, due Summer 2012)
Kat McGivern's image seems sculpted into a perfect pop package with an indie rock edge. The look, the smooth vocals, and the tight pop arrangements are calculated to appeal. But McGivern's voice occasionally slips up and reveals a touch of rebellious insolence. And unlike the other pop princesses, McGivern has the instrumental chops and writing skills to add some depth to her image. Facebook Official is a cute contender for the summer pop hit, but some of her other originals show more personality. Give a listen at her ReverbNation site.
Yawn - Ganymede (from Happy Tears)
Ganymede has a dreamy psychedelic sheen. Reminiscent of the Beatles' Blue Jay Way, the lazy rhythmic sway is accented with sparkles of guitars. Yawn's gentle underwater groove supports the pretty vocal harmonies. Drift along and remember:
You shouldn't ever think too muchThis happy sentiment seems to reflect the band's neo-hippy attitude about life in general. The whole Happy Tears EP can be downloaded from their site. Pull a copy and find a way to support this groovy band.
About the things that make you stay awake...
Bear in Heaven - Sinful Nature (from I Love You, It's Cool)
Bear in Heaven has been growing on me over the last couple of years. Their live show two years ago was a darkly intense mix of synth pop and post rock. Since then, I keep catching interesting snippets as they develop their sound. Sinful Nature showcases a heavy feel similar to that show, but Bear in Heaven has developed their ability to architect a song. The synthesizer groove sets an electronic vibe at the start, but this quickly moves into a thick psychedelic sound. Gloss over the vocals and it's a heady Krautrock trek, with a sense of foreboding. Listen to the lyrics and John Philpot's voice almost seems to come from within your own mind.
Yoonha Park's video is inspired by an acid trip viewing of Pretty Woman. The band wanted something "dark, feminine, trippy" and the video delivers.
Tuesday, June 26, 2012
Recording review - Joe Jackson, The Duke (2012)
Jackson's loving irreverence for Ellington's classic tunes
Joe Jackson has been clear about his love of classic jazz. With Jumpin' Jive, he offered his tribute to Louis Jordan and other swing band writers. Night and Day seemed inspired by Cole Porter's work. Body and Soul celebrated a retro Latin and pop sound, both musically and in recording technique.
That brings us to Jackson's latest, The Duke, which takes on Duke Ellington. "I revere the Duke, but I didn't want to make a reverent album," says Joe Jackson. As his deeply personal liner notes present his perspective on this great American composer, Jackson makes the case that these eclectic interpretations of Ellington's work would be in keeping with the Duke's own approach.
Jackson's most surprising decision was to avoid the horns that Ellington is known for. He also found a number of impressive players to bring in newer influences, like Sharon Jones (the Dap Kings), stunt guitarist Steve Vai, and Ahmir ?uestLove Thompson (the Roots) among others.
The album opens with Isfahan. The moody start sets a simple, stripped down groove. Vai's '80s jazz fusion guitar, modern synth washes, and a lush piano sound make this a solid track, but the album really kicks into gear with the next track, Caravan.
Caravan has become such a jazz standard, that it's hard to find a new angle. Jackson does a great job, setting an Afrobeat percussion against a Jeff Beck style jazz fusion groove. The solid funky bass foundation, the tight drums, and the chanky rhythm guitar build steadily to create a tasty exotic tension. Susan Deyhim's vocals are beautiful, giving her Farsi lyrics a retro cabaret feel. The mix of modern and retro elements make this my favorite track on the album.
The other hot track is the medley of I Ain't Got Nothing But the Blues/Do Nothin' 'Til You Hear From Me. Sharon Jones' confident blues singing is expressively soulful. Jackson's piano work is solid on the uptempo blues drive, especially on his solo. The transition to the moodier Do Nothin' features a stripped down sound and a sweet melodica run down of the head melody. This contrasting interlude sets up the return to the head. Jones sells the track, but Jackson does a great job as a blues player.
There are plenty of other interesting sounds and choices: the surprising overlap of Take The 'A' Train's lead over the changes for I'm Beginning To See the Light, the Elton John ballad sound of Mood Indigo, the string arrangement on I Got It Bad (And That Ain't Good), and the dark ska vibe of The Mooche. The most controversial reinvention might be It Don't Mean a Thing (If It Ain't Got That Swing). The basic chop rhythm guitar groove is accented with samples and synths. Jackson and Iggy Pop share vocal duties. Even though the core of the arrangement stays true to a big band sound, these additions will certainly raise some eyebrows.
But Ellington himself expanded on his own pieces later in his career and numerous artists covered them during his lifetime. Overall, Joe Jackson's personal interpretations of Ellington's tunes are worthy statements on their own. He may be pushing some boundaries, but his regard for the Master is never in doubt.
Joe Jackson has been clear about his love of classic jazz. With Jumpin' Jive, he offered his tribute to Louis Jordan and other swing band writers. Night and Day seemed inspired by Cole Porter's work. Body and Soul celebrated a retro Latin and pop sound, both musically and in recording technique.That brings us to Jackson's latest, The Duke, which takes on Duke Ellington. "I revere the Duke, but I didn't want to make a reverent album," says Joe Jackson. As his deeply personal liner notes present his perspective on this great American composer, Jackson makes the case that these eclectic interpretations of Ellington's work would be in keeping with the Duke's own approach.
Jackson's most surprising decision was to avoid the horns that Ellington is known for. He also found a number of impressive players to bring in newer influences, like Sharon Jones (the Dap Kings), stunt guitarist Steve Vai, and Ahmir ?uestLove Thompson (the Roots) among others.
The album opens with Isfahan. The moody start sets a simple, stripped down groove. Vai's '80s jazz fusion guitar, modern synth washes, and a lush piano sound make this a solid track, but the album really kicks into gear with the next track, Caravan.
Caravan has become such a jazz standard, that it's hard to find a new angle. Jackson does a great job, setting an Afrobeat percussion against a Jeff Beck style jazz fusion groove. The solid funky bass foundation, the tight drums, and the chanky rhythm guitar build steadily to create a tasty exotic tension. Susan Deyhim's vocals are beautiful, giving her Farsi lyrics a retro cabaret feel. The mix of modern and retro elements make this my favorite track on the album.
The other hot track is the medley of I Ain't Got Nothing But the Blues/Do Nothin' 'Til You Hear From Me. Sharon Jones' confident blues singing is expressively soulful. Jackson's piano work is solid on the uptempo blues drive, especially on his solo. The transition to the moodier Do Nothin' features a stripped down sound and a sweet melodica run down of the head melody. This contrasting interlude sets up the return to the head. Jones sells the track, but Jackson does a great job as a blues player.
There are plenty of other interesting sounds and choices: the surprising overlap of Take The 'A' Train's lead over the changes for I'm Beginning To See the Light, the Elton John ballad sound of Mood Indigo, the string arrangement on I Got It Bad (And That Ain't Good), and the dark ska vibe of The Mooche. The most controversial reinvention might be It Don't Mean a Thing (If It Ain't Got That Swing). The basic chop rhythm guitar groove is accented with samples and synths. Jackson and Iggy Pop share vocal duties. Even though the core of the arrangement stays true to a big band sound, these additions will certainly raise some eyebrows.
But Ellington himself expanded on his own pieces later in his career and numerous artists covered them during his lifetime. Overall, Joe Jackson's personal interpretations of Ellington's tunes are worthy statements on their own. He may be pushing some boundaries, but his regard for the Master is never in doubt.
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