CD review - Gomez, Whatever's On Your Mind (2011)

Gomez' sound is anchored in conflict. The three singers (and four songwriters) each have their own strong voice and style that pull the band in different directions. This diversity is what makes it hard to pigeonhole Gomez into a genre other than the vaguely named "indie rock".

Over the years, they've pared back a bit from the wild mix of psychedelia, experimental, and alternative rock they used to spread into. Their last album, A New Tide, had some edgier moments like Win Park Slope, but overall the balance has been tipping towards a more pop oriented feel. On Whatever's On Your Mind, due out in June, Gomez continues that shift. The band's individual goals are more aligned, so the sound is smoother.

Don't mistake smoother or more pop for boring or less interesting, though. There is plenty of classic Gomez in the mix. The detailed arrangements, featuring interesting guitar parts along with strings and horns, play up the band's Beatlesque qualities. The first single, Options, shows all of this: a simple guitar strum and drumbeat accumulates horns, shimmery keys, and guitar fills. The vocals are smooth and a little ironic:

I could be the guy at the end of the street
High on caffeine
Ranting and raving, baby
And that's okay, at least I've got options
Or I could be the one that gives it all up
And move back to the parent's house
And live in the basement, baby
And that's okay, at least I've got options

But when Ben Ottewell's rougher voice joins in during the bridge, it opens up the song to a deeper emotional truth:

I never wanted to change you
I only wanted to share
No, I don't believe
I don't believe
It's starting over and over again
Over and over again

One of Gomez' distinctive elements is how they overlay different rhythmic syncoptaions. This creates more complex beats, but it also intensifies the musical elements as they merge and diverge. I Will Take You There does this with an interesting drum beat, repetitive guitar figures, and languid keys, giving the track has a loose funky vibe. The Place and the People uses the same technique to take a simple beat and guitar line layered with electronic sounds and other bits of fill to create a compelling experimental vibe.

Whatever's On Your Mind flows easily from song to song. The sweetest moment comes with Our Goodbye. Nestled between The Place and the People and the electro pop feel of Song in My Heart, Our Goodbye has a gentle processional feel. Ottewell's voice evokes some of Elton John's long ago, better works. The string accompaniment, soft dynamics, and perfect pop construction all play against the two songs that bookend it. This stripped down live version offers a taste...

Sure, I still miss the trippy groove of Get Miles, the ska punch of Get Myself Arrested, and island beats behind Revolutionary Kind. But I can pull up the early albums anytime. I want to see what Gomez is going to be when they grow up. With the band currently scattered across the US and Britain, they could have just drifted apart. I'm glad they're still finding inspiration together. I'd like to raise a glass of the Morland's Old Speckled Hen I last had back in '96: rich, malty, and flavorful.

Concert review - One eskimO, Gomez

8 March 2010 (Ogden Theater, Denver CO)

One eskimO

Kristian Leontiou seemed uncomfortable in his role as frontman for One eskimO. He appeared painfully shy, constantly turning from the audience and muttering the occasional "thank you" without making eye contact. Drummer Adam Falkner showed a little more energy, swinging his brushes or mallets, but was still relatively restrained. Guitarist Peter Rinaldi and bass player Jamie Sefton were completely engrossed in their own playing.

With stage presence a weakness, there were still some great strengths. The instrumentation and arrangements were quite interesting: Falkner used some boxes as percussion in addition to his normal drums, Sefton threw in some flugelhorn on some of the songs, and samples and loops were scattered throughout the set. This gave the dreamy, Brit pop/soul a unique flavor.

Another strength is that Leontiou's voice is strong, sounding somewhat like Peter Gabriel (especially in cooperation with the heavily syncopated R&B grooves) or Murray Head. When his accent came through, as it did on a couple of songs, you might even think of Phil Collins.

My favorite song was Simpleday. It starts out with a riff reminiscent of Walk on the Wild Side (Lou Reed), but the vocals sound more like the chorus of Allstar (Smashmouth). It's more subtle than either one, with nice falsetto backup vocals, the flugelhorn, and some shimmery synth washes. Taken together, it sounds like "standing out in the dark by yourself" music.

The crowd pleaser was their single, Kandi. The Candi Staton sample is layered in perfectly and the effect is hypnotically compelling, a dream indie soul feel. This is very strong. Many of the other songs work at mining this space, too, although not quite as effectively.

Gomez

We heard a cover of Whippin' Piccadilly, a song off the first Gomez album, before the show started. It didn't sound like the cover artist spoke much English, but the Hawaiian feel of their version set a good mood. When the band came out into the faint haze of (medicinal?) marijuana smoke, Tom Gray quipped, "It smells nice in here" and they were off into Revolutionary Kind.

Their live album, Out West gives a good sense of their concert sound. The arrangements are a little looser than the studio versions and they tend to emphasize more of their psychedelic, jam side. The songs are all recognizable, but a little more interesting.

Throughout the night, they played material from their whole career, from Bring It On (Whippin' Piccadilly, Tijuana Lady) to last years A New Tide (Airstream Driver, Other Plans, etc). They even included some older odds and ends, like Machismo and Bring Your Lovin' Back Here.A strong part of Gomez' appeal is the mix of vocal sounds, from Ben Ottewell's world weary velvet rasp to Ian Ball's youthful idealist to Tom Gray's power pop perfection. Each voice brings the right personality to their lead songs and the others fall in behind it and support it well. Ottewell's voice on Tijuana Lady added the perfect emotional depth. They also did some interesting reverb processing on the vocals and drums to fill out the verses, then switching to a drier sound on the chorus. This hints at the other part of their allure: their ability to balance noisy psychedelia and a pop sensitivity.

The astonishing part of Gomez' live show was how smoothly they pushed through their setlist. They changed out guitars on almost every song, but handled this with the grace of a NASCAR pit crew, leaving no sense of waiting. Each change was planned and choreographed but it didn't feel stiff or over-rehearsed. The songs themselves felt loose and open, by contrast. They also nailed the audience connection part of the show, too. Other bands may perform so effortlessly, but they rarely show off with so many changes.

The whole show was great, but there were some pleasant surprises. Meet Me In the City had a nasty, deep down blues feel, like a ZZ Top track. They kept the tight harmony vocals of the studio version and dragged out the jam a bit, adding a great organ part. Girlshapedlovedrug was also strong. In the encore of How We Operate, the a capella start kicked into a harder vibe. The wah-wah solo, shimmery guitars, driving drum syncopation, and pacing bassline fit together perfectly.

It was an ideal night for a black and tan, made on the spot, with precise separation between the Bass and Guinness.

More photos available on my Flickr.

Random notes

It's time again to stick the iPod on shuffle and see what comes up. A few wild cards, maybe? I'm more surprised by which haven't come up yet, despite the full representation in my collection.

She Is Not Dead - Adrian Belew (Twang Bar King)

In a world of deeply competent studio musicians that work in the shadows, Adrian Belew built a career using his own unique musical voice. His significant work with Frank Zappa, Laurie Anderson, David Bowie, King Crimson, and Talking Heads showed off his ability to take guitar into strange realms. Animal howls, traffic noises, and sounds of a foreign bazaar are all fair game.

She Is Not Dead comes from Belew's second solo album, Twang Bar King. It shows off his singular aesthetic: the polyrhythmic percussion and processed guitar tones create a musical complexity that is anchored to a very sentimental song, devoid of irony.

Roots, Rock, Reggae - Bob Marley (Rastaman Vibration)
I Shot the Sheriff is Bob Marley's most well known song because of Eric Clapton's version, but Roots, Rock, Reggae proved to be Marley's best charting song in the US. The laid back chank and Aston Barrett's note perfect bass line are a great introduction to reggae's rich groove.

While I really enjoy Roots, Rock, Reggae, I think my favorite track from Rastaman Vibration is War, which offers a stronger philosophical message and has elements reminiscent of Fela Kuti's Afrobeat feel.

Charley Patton Songs - Gomez (How We Operate)
I've reviewed Gomez a couple of times. I love their mix of sounds that comes from three distinctive singers and writers. Charlie Patton Songs features Ian Ball's softer, reflective vibe. His milder tone is so far from Charlie Patton's rootsy blues life, but that distance feeds the longing in his voice. This is a beautiful song of searching. The instrumental bridge has a carousel feel, with the repeated theme as a touchstone. Each spin builds the energy before it returns to the theme to define the interval.

Propinquity (I've Just Begun To Care) - Mike Nesmith (Nevada Fighter)
Michael Nesmith always seemed out of place in the Monkees. He wasn't very good at hiding his frustration with the pre-fab nature of the band and fought hard for more artistic control in the band. Left to his own devices, he settled into a series of fine country rock albums. Propinquity (I've Just Begun to Care) was demoed for the Monkees, but was never an official release (Rhino did release a demo version as part of their 2006 Deluxe Edition of The Monkees.

This version comes from Nesmith's third solo album, Nevada Fighter. The arrangement is nice; it starts out simple, with sweet steel guitar fills. Nesmith slowly layers in additional guitar parts, backing vocals, and fuller drums to match the song's theme of love slowly developing.

Cubism Dream - Local Natives (Gorilla Manor)
I covered Gorilla Manor a few years back, impressed with Local Native's smooth mix of rich vocal harmonies, shimmery guitars, and compelling complexity. I love the arrangement on Cubism Dream. The syncopated guitar line meshes with the evocative bass line behind the falsetto vocals. The loose balance is so jazzy, but the song develops more of an indie rock feel as more instruments creep in.

Serious - Eric McFadden and Wally Ingram (Alektorophobia)
Eric McFadden is one of my favorite live performers. His musical range is incredible, reaching from gypsy blues to country to hard rock to funk. We'll talk about his work for other bands (like Stockholm Syndrome, Eric Burdon's Animals, and P-Funk) another time. While McFadden almost always plays an acoustic guitar, he can make it scream and shudder if necessary. On Serious, he sets up a simple Beatlesque feel accentuated by strings. But the song builds into a heavier bridge that starts to show signs of darkness and discord. McFadden's solo is fluid as it fits the harder sound but still emphasizes the Beatles vibe.

Poltergeist - DJ MegaMax (Dark Side)
Israeli electronic artist DJ MegaMax got his start creating remixes and that shows in his songs like Poltergeist. Ambient elements decorate the song, which lays out a solid techno bass beat. Threatening vocals and trance touches raise the song above its simple club vibe to create an evocative feel. It's a short track though, I think a longer run would let the pieces sink in to make a deeper impact.

CD review - Sleepy Sun, Fever (2010)

This review is a love letter to Sleepy Sun. I caught their live show last month and was impressed. But now, I've been listening to their album, Fever, over and over. I can't seem to take it off repeat. The arcing flow of the songs fits together just so, with dynamics that resonate with my mood and mind.

Much like their concert, the vocals are an axis for the songs to revolve around. Musically, they wander from one genre to the next without jarring. And the guitar work ranges from textured to intense.

But there are differences, too. Rachel Williams is still haunting and soulful, but on Fever, she also sounds sweet, playful, and breathy -- sort of Bjork crossed with Emmy Lou Harris (and a touch of Margo Timmins). Bret Constantino has a voice like worn corduroy, every bit as expressive as in the show.

Fever leads off with Marina, which starts out with an acid rock guitar line before settling into a lazy groove. Williams' voice is honey sweet. The layers of guitars are more subtle than the show, but more satisfying for that. The bridge section shifts the mood into a jungle beat of percussion before sliding back into the trippy groove again. It's a satisfying journey and a perfect beginning for the album.

Desert God, had a different feel than the live version. Sure, you could still imagine Jerry Garcia sitting in on the session, but the album version takes that idea and tweaks it to almost sound like a Gomez cover. Constantino even sounds a lot like Ben Ottewell in his tone and phrasing. More than that, the change leading into the second verse could easily be lifted from an early Gomez song. There are elements of Get Miles, Rie's Wagon, and Revolutionary Kind all hiding here. As the song drifts from section to section, it isn't a rip-off or even a tribute. It's more like Sleepy Sun is channeling the same musical signal.

The only misstep is Freedom Line. Despite the loose vocal rhythm, the mechanical drum groove doesn't fit the album. The sudden acid jam at the end is in character for the album, but doesn't really flow out of the song. That's a minor gripe because the closer, Sandstorm Woman, slips back into the pervasive lazy psychedelia of the album. A great set up for starting the whole thing over again.

Pour me a glass of the Reverend by Avery and I'll just let the music roll over me. Hugs and kisses to Sleepy Sun -- thanks for the jams. Fever is officially due for release on June 1 in North America (May 17 in Europe).

Front Range - Recommended shows, 2/27

Some great shows coming up:

1 March - Aggie Theatre, Ft. Collins CO
4 March - Boulder Theater, Boulder CO
Gomez

Gomez is bringing their diverse power pop/indie rock show back to the front range. The last time I saw them, they smoothly shifted instruments and sounds from song to song while preserving a loose, casual flow. The Sunday show in Boulder is actually an appearance on public radio's E-Town.

1 March - Fox Theatre, Boulder CO
The Funky Meters

The Funky Meters are a New Orleans mainstay. Art Neville and his band bring a creole mix of funk, jazz, and blues that can serve as an improptu medical test: if you're not moving when you hear them, you must be dead.

3 March - Aggie Theatre, Ft Collins CO
Whiskey Blanket

One of my favorite front range bands, Whiskey Blanket stirs up beat boxing, classical strings, and hip hop rhymes. They have a truly original sound. This free show is a great opportunity to check them out.

3 March - Boulder Theater, Boulder CO
4 March - Aggie Theatre, Ft. Collins CO
Ani DiFranco

Regardless of her status as a feminist and icon and political activist, Ani DiFranco has always made her strongest points with music. Her unique playing and lyrical perspective give her music a special flair that really shows best in a live setting.

Top concerts of 2010 - Jester Jay edition

My Favorite Live Shows
I saw fewer concerts in 2010, but there were still plenty of high points. There's a special kind of magic abou a live show. An artist that seems decent on CD can reveal deeper qualities on stage. It's a chance for performers to connect with us as people at the same time as they show their own transcendent connection to their music. I raise a toast to all the musicians I saw this year, even those that didn't make this short list.


Muse with Passion Pit (2 October, Pepsi Center, Denver)
Muse missed their show in April when weather blocked some of their show gear from making it her. They rescheduled for October and it was all for the best. Passion Pit opened the show. Their dance-centric pop was okay, but not a great match. That didn't matter much, since the beginning of Muse's set reset the audience's memory. The show was sheer spectacle. The stage set up featured three large elevator pillars, intense lighting, and lasers. The music was more than strong enough to equal the presentation. Muse's heavy post rock sound kept the audience engaged and energized. The combination rivaled that Pink Floyd show your dad told you about.


Red Sparowes with Caspian and Fang Island (26 April, Larimer Lounge, Denver)
Another great evening of post rock intensity. These three bands meshed together relatively well. Fang Island opened with a looser, more joyous set. Caspian built a wall of throbbing guitar sound. Their stage energy was thrashy, in contrast to their tight arrangements. The drumming provided the focus to channel the guitars and the emotion. Red Sparowes were more inwardly focused, which gave their set a a more detached feeling. The carefully layered textures and the swirling hypnotic sound built a psychedelic trance that served as the perfect ending for this concert/trip.


OK Go with Earl Greyhound and the Booze (14 April, Bluebird Theatre, Denver)
What a weird line up. The Booze provided a mod, mid-'60s vibe. Their polished set and tight arrangements were nice. They led into one of my favorite new bands, Earl Greyhound. Their hard rock, power trio sound built up the energy for the show. Kamara Thomas' bass work and singing continues to amaze me. Earl Greyhound sounds great on CD, but their live show is simply stupendous. Their bombast contrasted nicely with OK Go's tight power pop. OK Go may be one of the more recent bands built by the internet, but Damien Kulash and the band showed that their gimmicks (the treadmills, the light up guitars, etc) are in service to crafting great songs. The show and the sound were tight.


Macklemore with Binary Star, Observatory, and Jimmy Hands (12 November, Aggie Theatre, Ft. Collins)
The openers here were good. Binary Star, in particular, built up the energy. But Macklemore's triumphant return to Colorado was the main event. His stage persona was so genuine and warm that an audience couldn't help but connect with him. His joy at being on stage and getting to do what he loves came through. At the same time, his flow and insightful perspectives made the songs click just right. His producer, Ryan Lewis joined him and laid down some sweet backing tracks, too.


Bisco Inferno [Disco Biscuits and friends] (29 May, Red Rocks, Morrison)
The friends included a long list of interesting electronic artists: Pnuma Trio (from Boulder), Belgian DJs Aeroplane, Crystal Method, Glitch Mob, and German duo Booka Shade. The rhythms and jams continued from the afternoon til late in the night. All the acts were fine, but I particularly enjoyed the Pnuma Trio's jazz dance mix. Crystal Method worked the crowd and built up some great energy. Also, the Glitch Mob's set was impressive, with instrument swapping, laptop solos, and trippy soundscapes. Of course, the pinnacle was two full sets of the Disco Biscuits. The lighting, the costumed crowd, and the hypnotic jams created a neo tribal ritual. Biscuit shows generally meet this description, but the Red Rocks setting added its magic as well.


Gomez with One eskimO (8 March, Ogden Theater, Denver)
One eskimO opened the show weak on stage presence, but strong in sound. Kristian Leontiou's voice and the intriguing musical arrangements pulled their set together. Their big single, Kandi, was the high point of their show. Gomez nailed their songs with a looser, jam feel than the studio versions. The progression of songs seemed effortlessly inevitable: choreographed, yet casual. Their balance of psychedelia and pop was also perfect.


Flobots with Digable Planets and Air Dubai (10 December, Aggie Theatre, Ft. Collins)
Air Dubai, from Denver proved to be a promising opener. They featured a tight rhythm section and band backing a pair of talented rappers. Speaking of tight bands, Digable Planets was backed by an incredible set of musicians. Cee Knowledge recreated the band's original jazz hop vibe. The Flobots, though, owned the stage. Their music and stage choreography were fluid. As good as their records are, they must be seen live to truly appreciate what they have to offer.


Cymbals Eat Guitars with Bear in Heaven and Freelance Whales (1 April, Hi Dive, Denver)
Freelance Whales brought their shimmery, indie pop, packed with interesting instrumental arrangements. Bear in Heaven played a synth-touched, post rock sound. These guys are great musicians and their set was exciting. Cymbals Eat Guitars transcended their studio sound to land somewhere between Pavement and the Replacements. Their great dynamics were just a bonus.


Good Gravy with Jonestown Potion (22 January, Aggie Theatre, Ft. Collins)
Both of these local bands were standout. They each had the right dedication to the groove, even though they leaned towards radically different genres. Jonestown Potion's progressive jazz was mind blowing. Good Gravy continued their ongoing improvements to deliver two strong sets of jam grass. The group was more comfortable than before, without sacrificing any of their chops.


Honey Gitters with Novalectric (18 August, Aggie Theatre, Ft. Collins)
Novalectric's southern fried rock was good, if a little out of balance. The Honey Gitters expanded on their core jam grass sound to get a little wilder. This show featured more freeform jams than I've heard them explore before. These guys could easily appeal to fans of the String Cheese Incident and other favorites of the festival circuit.

There you have it. Ten wildly different shows, but all hitting the spot in a way only live music can.

Recording review - And the Giraffe, Creature Collector (2012)

Delicately balanced dreamy folk

Last year, I reviewed And the Giraffe's EP, Something For Someone. I enjoyed their mellow exploration of dreamy folk space; each song created a different mood, finding its own niche. Their latest short-form release, Creature Collector, builds on that nuanced sound with richer production and a stronger contribution from the rhythm section. A perfect example is "Of the Moment", which starts with simple reverbed guitar figure. Robert Edmondson's melodic bass line comes in and adds focus to the quiet reflection. Gossamer shreds of electronic washes are barely perceptible. The breathy lyrics are brief and poetic:

Here I am, trapped in the embers
Of the moment
And the why

Darkness descends with a sharp contrast between prickly bass notes of doom and a rapid, panicked drum beat. This dissipates as the song wakes, driven by an experimental percussion jam. It's a lot to fit into three minutes, but the band effortlessly flows through this evolution.

And the Giraffe continues to evoke Gomez, with vocals reaching for Ben Ottewell's velvet rasp. "Find My Name in the Sun" floats forward, with a weary acceptance:

Does a loving feud have to be something more?
Will the rug muffle our yells?
Will the chipped paint ever dry?
Will the room keep closing in?

The detached vocals suggest a surrender at the loss of a relationship, holding none of the sting these lyrics suggest. The music remains unencumbered and light, despite some ornamentation. A soft banjo, synth washes, and other subtle sounds add detail, but find a delicate balance. The folky feel transitions into a rootless, atmospheric electronic shimmer for the bridge. This heralds a growing complexity, where complacence becomes anticipation, signaling an end to the grieving. Conflicting details layer together, but never feel chaotic because harmony still dominates.

The six songs on Creature Collector all seem to capture some degree of pain in their lyrics, but the music redeems them from any self-absorbed whining. It's hard to be melodramatic when the tunes remain stubbornly low key and perceptive. So, it's less Melanie's "Beautiful Sadness" and more Wilco's "Less Than You Think". In fact, the closing track, "Enough is Enough" seems to channel Jeff Tweedy's halting rhythm in its beginning section. The simple piano is sparse, emphasizing the lines by dropping back rather than dynamic punches. After this intro, the rest of the band comes in, kicking off a "Walk on the Wild Side" groove. Except for a touch of noodling electric piano early in this section, it's a perfect transition. The song closes with a fuller sound; distorted guitar and a saturated mix bury the track in another noisy Wilco touch.

Drop by And the Giraffe's Bandcamp page where you can name your price to download Creature Collector.

Front Range recommended shows - 10/7

Tuesday, 8 October (Gothic Theatre, Denver CO)
Matt Nathanson

I accidentally discovered Matt Nathanson while killing time in Borders. His live album Live at the Point (review) proved to be a nice introduction to his solo, singer/songwriter sound (he often has a backing band on his live albums). He's a clever writer with good stage presence.


Thursday, 10 October (Fox Theatre, Boulder CO)
Friday, 11 October (Gothic Theatre, Denver CO)
Saturday, 12 October (Aggie Theatre, Ft. Collins CO)
Les Claypool's Duo de Twang

Les Claypool can be accused of many things, but predictability is not one of them. The Primus bass maestro has paired up with guitarist/singer Marc "Mirv" Haggard for a tangy, twangy experimental duo. Low notes will be slapped and tortured all across the Front Range.

Friday, 11 October (Ogden Theatre, Denver CO)
Gary Clark Jr.

Some people have called Gary Clark Jr. the savior of the blues. I won't add to that burden, but I will recognize that, while he's been hyped to the max, he largely delivers on his reputation. His sense of blues is rooted in classic sounds, but he brings his own strong voice to bear.

Saturday, 12 October (Soiled Dove, Denver CO)
Ben Ottewell

As one of the three lead singer/guitarists for Gomez, Ben Ottewell has developed that bands rich, indie psychedelic sound. I've only heard a little bit of his solo work, which is a bit melancholy, but his voice is like worn flannel: every note is a soothing comfort.

Concert review - John Popper and the Duskray Troubadours, with Lisa Bouchelle, Funkma$ter, and Judd Louis

11 March 2011 (Aggie Theatre, Ft. Collins CO)

A beautiful spring evening and a great night of music. This was my first chance to catch John Popper's latest project, the Duskray Troubadours. The openers were an odd mix: Judd Louis and Funkma$ter on the local side and Lisa Bouchelle, who's on the national tour. Louis' rocking acoustic music fit well, as did Bouchelle's folk rock vibe. Funkma$ter's heavy technical looping work was a tougher match, though.

The crowd was thinner than I'd expected for a big name like John Popper. Maybe people are already getting started on Spring Break. Even though the band deserved a bigger audience and a chunk of Ft. Collins missed a hot show, those of us who did come out were richly rewarded.

Judd Louis

Judd Louis had a shy, folksy stage presence, but his playing was focused and confident. His handful of songs all came from folk or country tinged roots, but his heavily syncopated rhythm pounded them into more of a rock feel. The scarred face of his guitar attests to his strumming intensity.

He brought that same intensity to his singing. With a raspy edge like Ben Ottewell from Gomez, Louis screwed up his face and gave it everything he had. That also gave his set a taste of Dave Matthew's edge. His voice also had that same kind of confessional purging.

With every song so hard driving, there wasn't a lot of room for subtlety. Still, his set was heartfelt. He threw in a generous mix of harmonica, open tunings, and occasional bluegrass licks to keep things interesting.

FunkMa$ter

Funkma$ter's other gig is playing percussion for Ft. Collins' Euforquestra. I haven't seen him since 2009, but last night's show was still centered on his looping setup. He had the same cockpit, surrounding himself with a drum kit, keyboards, guitar, and bass. This time, he didn't pull out the Latin percussion, but he laid down a strong mix of older covers. He continued to impress with his technical abilities to juggle the complexity of his gear while playing a host of instruments. He's gotten even better at tweaking his looped parts in and out of the mix or adding effects in.

In the last two years, his stage presence has improved. He made more effort to interact with the audience when he sang. Unfortunately, he was still too self absorbed during the loop building sections that started each song. He polished each layer, rolling through the changes four or more times before really checking in with the crowd. Creating the layers is the tradeoff for any looper based act, but Funkma$ter needs to figure out how to engage the crowd more during this part.

His best song of the night was a solo blues guitar number, a cover of Keb' Mo's Perpetual Blues Machine. Simple, with no layering, he showed off some nice blues licks and was tightly engaged in the song. Another crowd pleaser was his cover of the Doobie Brothers' Black Water. The complex vocal payoff for the loop layering seemed worth it.

Lisa Bouchelle

Lisa Bouchelle has been slowly building up a national audience. She met John Popper on the 2007 Blues Traveler tour. Lately, she's been opening for Meatloaf, Dennis DeYoung, and now Popper's Duskray Troubadours. Her latest album, Bleu Room With a Red Vase, includes a duet with Popper.

Walking out alone on the stage with her acoustic guitar, she looked the stereotype of the earnest singer/songwriter. The first song's folky start encouraged that, but she quickly picked up the emotional intensity and rhythm to jump into femme folk rock orbit, sounding like 4 Non Blondes. Bouchelle proved to be a talented vocal chameleon, moving from Linda Perry to Bonnie Tyler to Sheryl Crow to Melissa Etheridge. This wide palette of vocal sounds keeps her songs varied and interesting, as she bounces from sweet pop to bluesy rock.

The moods varied too, from the '70s folk rock of Heaven On Credit to the clever Refreshments vibe on Love Is Supposed To Be Fun. Her song, Kitchen, nailed Melissa Etheridge, but she also threw in a lot of cool vocal tricks to stake her own ground. American Dream Gone Wrong tight-roped a space between Tom Petty and Bruce Springsteen.

Bouchelle's warm stage presence, musical versatility, and talented songwriting made this a good set. The only drawback with her act was that she's so good at shifting roles and sounds from song to song that it was hard to get a line on the "real" Lisa Bouchelle: young, coquettish pop singer, weathered cynic, or old hand performer. That's small criticism, though.

John Popper and the Duskray Troubadours

There's an honor roll of virtuoso harmonica players that includes names like Delbert McClinton, Paul Butterfield, James Cotton, and Little Walter. John Popper has earned his place on that list through his soulful feel and technical brilliance. With Blues Traveler, he showed off his mastery, cascading through blinding single note runs with absolute control and creating a hypnotic swirl of sound that blurred the lines between harmonica, organ, and aria. While he still plays with Blues Traveler, Popper has been getting excited about his latest band project, the Duskray Troubadours. The new group has opened things up for Popper: writing with different people, playing with more subtlety and dynamics, and focusing on fun.

The Duskray Troubadours had a looser, more jangly sound than Blues Traveler. Even when they covered BT songs like But Anyway, The Mountains Win Again, or Runaround, the jam was less pyrotechnic or frantic. While they sometimes broke out some funk, there was more emphasis on soulful grooves crossed with a touch of Southwestern rock. Despite the looser feel, the Duskray Troubadours are a well practiced group of talented players. Kevin Trainor's fills and occasional slide work meshed perfectly with Popper's harp. The backing vocals were always letter perfect.

It was clear to see why John Popper is so happy with this band. He was surrounded by friends, where the joking and camaraderie were woven into the band's DNA. He had the room to be a kid, knowing that it would all work out just fine.

One of my favorite tracks of the night was the haunting blues of Bereft. The drag beat gave it a BB King feel. Popper's soulful vocals slid from crooning to crunch. The harp solo was an organ wail waterfall of sound. Another high point was a high lonesome rocker, Jono Manson's Under the Stone, that drifted into Grateful Dead psychedelia (The Other One and other bits of Jerry).

The Duskray Troubadours played a nice long set (about 100 minutes). The encore brought Lisa Bouchelle up to play her collaboration with John Popper, Only The Tequila Talking, before wrapping up with Runaround.

Popper has praised the Duskray Troubadours for giving him the room to move beyond being the Yngwie Malmsteen of harmonica. But that didn't mean he took it easy. His jams were as astounding as ever. After a long night of the best harp playing I might ever hear, I dreamed of whirling solos..

More photos on my Flickr.

CD review - And the Giraffe, Something for Someone (2011)

Exploring a full palette of dreamy folk

College towns like Gainesville, Florida often foster great music scenes. Some hit it big like Tom Petty, Don Felder, Against Me!, and Less Than Jake, which all have roots in Gainesville. On the other side, I remember all the local bands I loved there during my college daze. When I found out that And the Giraffe came out of G'ville, I was psyched to hear what was coming out of today's local scene.

Something For Someone offers a moody mix of dream folk. The EP's six tracks maintain the kind of shimmery reverb haze that defines the genre, but And the Giraffe manage to evoke a wide range of feelings. This is rooted in subtleties of timing: a touch of rhythmic drag can shift the sense from expectation to fatalism.

And the Giraffe's sound is reminiscent of Gomez's more drifty tracks, largely because the vocals capture a piece of Ben Ottewell's tone. The first track, Underground Love hits this best of all. It's simple and floaty, with the guitar taking on a saturated tone against the swaying bass and stripped down drums. The raspy, velvet vocals capture a kind of weariness, but there's an undercurrent of satisfaction. The whispery background vocals give the whole tune the sense of an interior monologue.

This contrasts with the late summer night sound of 1055. Here the echoed guitar works against a steadier keyboard to create a sense of surrender: "And my God, I almost fell in love." Later on Magic 8, the feeling is anticipatory, waiting for some promised treat. The loping rhythm is light, but creates a dreamscape, with the sense of running down a hill to a wonderful future of possibility.

Although Something for Someone is short, I love that And the Giraffe have stretched out the boundaries of expression available within the dream folk sub-genre. The music is beautifully recorded and mixed, perfect for headphones. It would be great to hear what the band could do with a full length album.

Drop by Bandcamp to hear Something for Someone.

Concert review - Sex Glove, The Fling, The Knew

1 August 2009 (Road 34, Ft Collins CO)
Back to local music or at least local music joined by smaller, lesser known bands. I reviewed Sex Glove less than a month ago, so this was a nice review session. They were followed by the Fling, out of Long Beach, California. Finally, the Knew from Denver closed down the bar. Across the board, it was an interesting shift of music: noisy psychedelia to laid back groove to dynamic rock.

Sex Glove

It hasn't been long since I've seen Sex Glove, but before the show they mentioned that this set wouldn't be quite as edgy as their show with Action Friend. There was still a little thrash, but the punk elements were dialed back. They led off with Atheist Love Song, a slow groove with some Dave Gilmour style slide guitar and heavily echoed vocals. A version of this song is on their MySpace page. After this moody beginning, they kicked it up.


Their best song of the night was Introvert, which they later joked was their "hit". It should be. It was a hard driving song with echoed Peter Murphy vocals, bowed electric guitar, a bouncing bass line, and noisy keyboard patches. The effect was high energy psychedelic, especially as it grew into something like The End by the Doors.


Once again, the set was too short. Some minor technical difficulties and a full line up of bands didn't help. You'll have catch Sex Glove live because they don't have any recordings yet.

The Fling

The Fling is sweeping the west, making the big loop through the south west, coming to the Front Range, and heading to the Pacific Northwest. It would be overly simple to describe the band as sounding like Tom Petty, although their front man, Dustin, didn't mind the comparison. The similarity comes down to a combination of factors: thick, three part vocals, jangly guitars, a slower, down tempo groove, and a retro ear for tone and arrangement. Maybe they share influences because there are elements of George Harrison and Electric Light Orchestra in their sound. So, if I hear Tom Petty and Traveling Wilburys, it makes sense. Listening to their EP, Ghost Dance, the George Harrison influence is even stronger, especially on songs like Get Back or Cold Comfort.

The vocal harmonies were a central part of the Fling's sound, well above what the average bar band pulls off. For some other band, these parts might turn up on the studio version, but not sound right in a live show. The Fling has clearly put a lot of work into this aspect of their music, but it felt fresh on stage, not over-rehearsed.

The line up for most of the songs was two guitars, bass, and drums. The lead guitarist also played keyboard. Also, for a couple of songs, the bass player just played percussion and melodica, providing a stripped down sound. The ringing guitars created a wall of sound, especially when alternate rhythm parts came together. One of the songs went well beyond Tom Petty, taking a churning discordance and harder beat into a Wilco space.


I think the last song they played was Cold Comfort, which I heard on the EP. This song had a cool Beatles feel. The chords, bass and vocals sounded like I Want You (She's So Heavy) crossed with Glass Onion. This grindy jam also had elements of Supertramp. It was the best song of the set.

The Knew

When the Knew took the stage, they owned the space. Tim Rynders (bass) and Tyler Breuer (guitar) danced around behind Jacob Hansen (lead vocals and guitar), half moshing. The constant movement kept the small audience rapt. Tim's attitude permeated the whole set. Nice bouncy rock numbers mixed it up with moodier songs, and they also threw in some country and blues. The drummer (Patrick Bowden) was steady, mostly keeping it simple, but still throwing in a few more interesting licks. He also played harmonica on a few songs.


The set was more varied than the Fling, hitting some good dynamics between driving rock and more laid back bits. The songs were interesting: good rock and roll without being simplistic. Even within the songs, they could shift the energy -- pulling back to make the faster sections stand out more.

Jacob's voice is a central element of the sound. Slightly nasal, it reminded me mostly of Marc Bolan from T Rex, with elements of Ryan Adams. Listening to their Boom Bust EP, I hear some Morrissey and Gomez, as well. At times, it was hard to understand the lyrics, but the energy was strong.


The guitar work was excellent, with some slick slide work and shimmery tone. Tyler had some parts that evoked the Edge's tone (from U2). The whole band had a great time on stage and they're worth catching live.

I was drinking Odells' IPA, which worked well - piquant hops and full body match well with a full night of bands.

Photos available on Photobucket (full images on request).

Favorite albums of 2011

It's time again to look back at the year's music and try to pick out the best. Even ignoring the odd biases of my personal taste, the whole idea is foolish. There are plenty well known bands that I didn't get to, so I can't include them. On top of that, I've listened to many new and upcoming bands that aren't really on anybody else's radar. Finally, I rarely review music that I don't care for at some level, so selecting a small handful is absurd. So call this my favorite albums of the year, not the best. They're all worth checking out, whether they're from a brand new group or a familiar band. Browse through my list and find something great.

Arbouretum - The Gathering

Arbouretum channels a classic rock sound, evoking bands like Bad Company. It's unselfconsciously retro, without a drop of irony or meta. On tracks like The White Bird, the casual psychedelia of meandering guitars against a throbbing melodic bass is sweetly hypnotic. The band captures the delicate balance between power and intricate intertwining parts, without the excesses that the early '70s could produce. As much as I enjoyed The Gathering on the first listen, it's been a great album to come back to over the year for casual listening.
(original review)

Dengue Fever - Cannibal Courtship

Dengue Fever finally released an album of new original music this year. Cannibal Courtship continues expanding the band's base sound, which is influenced by retro Khmer rock. Their core sound is still there on tracks like Cement Slippers, but Dengue Fever has mixed in ska, funk, and R&B. Lead singer Chhom Nimol is in fine form, whether summoning sultry appeal, dreamy desperation, or emotional aloofness. The rest of the band shines, too. Check out the psychedelic jam on Durian Dowry; Nimol's voice and Senon Williams' bass add oceans of depth to the track.
(original review)

Mogwai - Hardcore Will Never Die, but You Will

Such a heavy title, but Mogwai is just sharing their dry sense of humor. The album is full of restrained and reflective moments, as well as a strong inspiration of post punk synthesizers. But fans of the classic, post rock Mogwai will still find the cathartic waves of sound the band is known for. Death Rays offers a taste of both extremes. The title seems ironic as a softly building procession unwinds, but when a thick ragged guitar kicks in to represent the death rays, it all makes sense. The following track, San Pedro contrasts perfectly with a driving tension.
(original review)

Govinda - Universal On Switch

Like Beats Antique, Govinda blends world beat influenced grooves with electronic sounds. Or maybe it's electronic grooves with world beat sounds. Govinda meshes the two elements into an inseparable whole. The title cut to Universal On Switch anchors a flitting gypsy violin to a solid electronic beat. Indian shimmers, glitched vocal samples, and a grinding bass all fold together into a hypnotic trance vibe. The band also delivers some more pop oriented sounds, like the electro pop Angel Freezing.
(original review)

Other Lives - Tamer Animals

Orchestral and dreamy, Tamer Animals took a few listens to reveal its depth. My initial thought was that Other Lives had a good cinematic style, but it took time to appreciate the full sweep of the album. The band has a rich dynamic sense with extensive scope. Moving from atmospheric moodiness to lush fullness, Other Lives isn't locked into a single sound. The tracks progress through a series of moods, packed with evocative details that add subtlety and nuance. A sparse arrangement and echoing reverb set up a song like For 12 with its open western sense, but the strings and subdued piano establish the darkness of conflict and ambivalence.
(original review)

Spirits of the Dead - The Great God Pan

With songs that range from Hawkwind influenced wanderings (Mighty Mountain) to psychedelic jazz jams (Leaves of Last Year's Fall), Spirits of the Dead offer a rich spectrum of sounds. And that's just within the first two songs. Even within a song, the band might stir in acid rock, art rock, and loose improvisational playing. Despite any stylistic leaps, Spirits of the Dead effortlessly create a smooth flow throughout the album with well planned transitions. The percussion work in particular is impressive as it maintains the rhythmic thread while adapting fills to match the musical shifts.
(original review)

Callers - Life of Love

Does Life of Love even belong on this year's list? It came out in 2010, but I didn't review it until this January. It made such a strong impression that it seems unfair to disqualify Callers based on the release date. Sara Lucas' voice is strong and vibrant, with strains of Maria Muldauer, Phoebe Snow, and Grace Slick. Callers' music sounds loose and full of possibility. Ryan Seaton and Don Godwin's coordination on their arrangements is a thing of beauty. Subtle and open, but not thin or makeshift, from the gospel blues of their cover of Wire's Heartbeat to the muted psychedelic sparkle of Roll.
(original review)

The Golden Awesome - Autumn

The Golden Awesome are masters of dreamy noise pop. They temper the cathartic throb of distortion with their sweet harmonized vocals. This kind of juxtaposition is often interesting, but Autumn toys with the balance to show the world of variation possible, from the tense mechanism of Astronomy to the heady spiraling of Where to Begin. The noise drives away all distractions while the vocals soothe. Plenty of recent bands work the lo-fi end of this mix, but none of them capture the spark of joy heard on Autumn.
(original review)


Portugal. The Man - In the Mountain, In the Cloud

Portugal. The Man's major label debut hits the best of both worlds. The band has maintained artistic control, but this gave them a much better budget to work with and the production quality shows it. The sound is somewhere between Breakfast in America era Supertramp and David Bowie's Young Americans, but Portugal. The Man takes those retro elements and jams with them to create something new and trippier. Much like Flaming Lips or My Morning Jacket, PTM's studio work offers a hint of what the band can pull off on stage, but it stands well on its own.
(original review)

Paley & Francis - Paley & Francis

Reid Paley and Black Francis spent a couple of days writing music together, split up to write some lyrics, and then spent two brief days in the studio to record Paley & Francis. On that breakneck schedule, they could be forgiven if the album seemed slapdash. Instead, this collection of first takes has a raw power that comes from the stripped down arrangements and immediacy of fresh material. Both men approach the songs with firm confidence and blend their perspectives from song to song. Francis' songs evoke his work with the Pixies as well classic garage rock classics. Paley's voice is warm, but infuses his songs with ragged soul. The combination is excellent.
(original review)

Honorable mentions
Here are few honorable mentions - great albums that didn't quite make my 10 favorites.

• Cymbals Eat Guitars - Lenses Alien (original review)
• And the Giraffe - Something for Someone (original review)
• The Jigsaw Seen - Winterland (original review)
• The Indelicates - David Koresh Superstar (original review)
• Jonathan Coulton - Artificial Heart (original review)

That's still ignoring good albums by Lateef the Truthspeaker, Gomez, Whiskey Blanket, and others.