Though I arrived a bit to late to catch much of the set, it was nice to see such a packed crowd for a band I know next to nothing about. Proof that the Pittsburgh Music Scene is bigger than my friends & their friends (though due to the one-degree of separation in Pittsburgh, I'm sure they are still friends of friends somehow).
Also proof that I don't listen to the X enough, as they're featured on this station. I suspect it's for the song "This City is Cold", as it's the stand-out rock song on the album, and it seems referential to both Pittsburgh and the weather here, which us yinzers gripe about more then when the Steelers are losing a game or the Arts are losing funding.
The emotional, interpersonal lyrics are right up front for most of the album, meaning it will be an album for the reflective and thoughtful days. But it rocks, 90's style, while tipping the hat to the generations before them. Dream Theater on the rocks, if the rocks were Van Halen, and the Cars.
There were some lovely moments in their softer songs too, my favorites being Chesterfield and A Rescue. OK, so A Rescue is not such a soft song, but it just feels more honest, a bit more telling, then the others. The entire second half of the album viscerally reminds me of "Friday I'm in Love", while the production of the guitars and keys securing this understanding.
I almost wish they'd started the album off with this half, perhaps Don't Walk Away, as these songs easier to get into for my personal taste. However, the progression of the album is nice, leaving the listener with a hopeful resolve.
myspace.com/sevencolorsky
Showing posts with label live reviews. Show all posts
Showing posts with label live reviews. Show all posts
3.15.2009
2.23.2009
WYEP Third Thursdays with the Harlan Twins
Mix a few parts country twang, a spattering of hipster appeal and mix it in a pot of neo-soul-jam-rock and you've got the alternative rock group known to Pittsburgh as The Harlan Twins.
There's a humble demeanor in the band's performances. No one seems to be the main lead, as the two lead vocalists have this cute shyness to them as they drink their beer too fast and talk about their bangs between songs. But the sound is far from something you'd expect from a wallflower group - it is loud, gritty, in-your-face rock-dance-party music.
I'm always impressed with the caliber of music at WYEP's events, and these third-thursdays are no exception. There's always a nice balance of empty-next couples looking to get back into the live music scenes now that their kids have flown the coop, young and hip college-aged trendsetters who are interested in this month's radio station favorite, and people of all walks of life who are interested in a good - free - thursday night event.
As is typical with my experience with the scenesters around, I'm disappointed with the lack of dancing to this very danceable band. What does it take to get people dancing these days? I guess cocaine made for a better party drug than vicodin, though neither really seem appropriate for such a pristine and welcoming venue as the WYEP live studio room. I would eat off the floors, if prompted (and perhaps on an entirely different kind of party drug), but it isn't uncomfortable at all. All the volunteers are great, the hosts are welcoming, and it's nice to see that many of the WYEP staff are present at these events. It shows a degree of pride in something that is truly a wonderful series.
There's a humble demeanor in the band's performances. No one seems to be the main lead, as the two lead vocalists have this cute shyness to them as they drink their beer too fast and talk about their bangs between songs. But the sound is far from something you'd expect from a wallflower group - it is loud, gritty, in-your-face rock-dance-party music.
I'm always impressed with the caliber of music at WYEP's events, and these third-thursdays are no exception. There's always a nice balance of empty-next couples looking to get back into the live music scenes now that their kids have flown the coop, young and hip college-aged trendsetters who are interested in this month's radio station favorite, and people of all walks of life who are interested in a good - free - thursday night event.
As is typical with my experience with the scenesters around, I'm disappointed with the lack of dancing to this very danceable band. What does it take to get people dancing these days? I guess cocaine made for a better party drug than vicodin, though neither really seem appropriate for such a pristine and welcoming venue as the WYEP live studio room. I would eat off the floors, if prompted (and perhaps on an entirely different kind of party drug), but it isn't uncomfortable at all. All the volunteers are great, the hosts are welcoming, and it's nice to see that many of the WYEP staff are present at these events. It shows a degree of pride in something that is truly a wonderful series.
11.10.2008
Nick Ragheb with Lucas Legetti and Elie Kihonia at Wood Street Gallery
I had the pleasure of seeing my old friend Nick Ragheb perform alongside two master instrumentalists this past friday. Elie Kihonia of Afrika Yetu came in shortly after this clip during set 2. Lukas Ligetti was the touring performer in this set. The three of them had never set foot on a stage together, and practiced for maybe 20 minutes prior to the show. A true testament for the talent each of these men has, the show was a great escapade through the possibilities in percussive music.
At times, they would fall together in these ecstatic moments, rhythm pulsing through each of their instruments as if they'd been playing together for years. And even as these grooves fell apart, it seemed purposeful and directed, a zen-like grasp-release cycle.
Nick is teaching classes at his home in Lawrenceville on Sunday afternoons.
Nick's friend Hakan from Turkey ain't bad either:
10.15.2008
KAL
The fiddler and accordionist were two of the best I've ever seen. And the rest of the band flat-out rocked, gypsy-style.
9.13.2008
Kabile at Your Inner Vagabond
What an awesome show! Full of lively dancing and some of the most talented musicians this side of the equator. Check out the bagpipes!
8.06.2008
Radiohead at Blossom outside of Cleveland, "It brought me to my knees"
Read a concise and collected review at Cleveland.com...
SET LIST: "15 Step," "There There," "Morning Bell," "All I Need," "Pyramid Song," "Nude," "Weird Fishes/Arpeggi," "The Gloaming," "The National Anthem," "A Wolf at the Door," "Faust Arp," "Exit Music (For a Film)," "Jigsaw Falling into Place," "Idioteque," "Climbing Up the Walls," "Bodysnatchers," "How to Disappear Completely"
FIRST ENCORE: "Videotape," "Paranoid Android," "Dollars & Cents," "Reckoner," "Street Spirit (Fade Out)"
SECOND ENCORE: "House Of Cards," "Lucky," "Everything in Its Right Place"
I start this review with the setlist (DUH you are saying, we are here, now, reading this, aren't we?)... So, let me explain this absurdly placed addendum.
Radiohead are Magicians. The type of mind-fucking, poetically-speaking, know-it-all (and show few cards) types that have been notorious for being lynched or burned at the stake throughout history. They get into your brains, under your skin, deep inside your heart. They pet your deepest desires and then smash your ego in with itself.
They flat-out rock.
The first time I saw them, in Boston circa 2001 was perhaps the single best concert I'd ever seen to date. Things I'd never seen at concerts before were happening as if it was part of a master plan.
For instance... The community: While I'd been to a lot of concerts for a teenager, I had yet to see an audience so diverse. Not only were there obviously different tastes in music being represented (from the bondage-pantsed goth kids, to dead-heads and metal-heads), but there was such a variety in age, race, and visible social status. There were people smoking pot, people drinking beer, and people (like myself) who remained sober for the entirety. And we were not simply peacefully coexisting, but communing in a way that only those there could understand. If only we could do this as naturally on the streets...
The respect: This was my first Radiohead show. Most of the people I knew who revered them were junkies or just generally a bit psychotic. I had a respect for the Bends, and for the newer albums that had come out, but... well, I guess I just didn't know then. Well, during Pyramid Song, the crowd became silent. Not nearly silent, as I've seen a few times since, but like "i'm in church, communing with god, and getting high off of the preachers words. amen!". I could hear *everyone* in the venue, and when some guy, probably 40-50 feet behind me, whispered "Dude, I dropped my bowl", there were quite a few chuckles from the, oh maybe 200 of the people who heard this also. Then, back to pin drop silence.
And, as is known to happen at Radiohead shows, the essentially supernatural: During the "Rain down... from a great height" bridge in Paranoid Android, a plane passed overhead. Big whoop? We were so close to the airport that this plane blocked out almost the entire sky. It was inaudible, even at such a soft part in the song. And, it was blinking in time to the percussion. Did a plane-looking UFO simply come to take us all home? It seemed entirely possible at the time.
Listening to a mixwit by the author of the article above. I love moments like the "wooh!" "shut up!" "WOOH!" "SHUT UP!" moments in You and Whose Army? There is no better way than trying to shush someone else's experience to embody your own pet peeve.
I digress. My whole point in putting the setlist first is to say that Radiohead weave a story. They build up their lyrics, which may seem naturally divergent, a bit wacky, and deeply enlightened. The lyrics are merely the backbone for a body of art that includes all the fleshy, ethereal musical layers that make them demi-gods. The halo of light is their stage-show, which is more psychadellicaly there than any I've seen, while using a (relatively) simple light show with live video feed.
What is the story they are weaving? IMHO, it is a dawn-of-the-apolcalyptic evolution of mankind tale of lobbyists, lovers and loners, as told by a centaur from the center of the galaxy who is here on vacation and winds up getting trapped in a zoo and his only way to escape is to call home to his people by joining up with some other inmates set on becoming a big motherf*cking rock stars. He says "get me out of this dodge" while, on occasion, sympathizing with a bunch of kids who are broiled in fear, ecstasy and personal economic crises.
Will the centaur make it home? I'm not sure, but he did predict this whole thing. A voice of reason in an unstable time, he is pointing out our flaws, pushing our substance abuse in our faces, laughing at the spaces between us. What causes a human to feel? Because it certainly can't be these things we think. TV? Things upon things upon things...
What they're after is probably akin to Burning Man in the way that life goes beyond these material stockpiles which own our lives and dictate future experience. It is about letting things go, be them perceptions of how people should act when they are having an experience, or little hand-held devices that never leave our iron claws. Write on the sky, and let the clouds roll away.
What other experiences could you have? There were plenty of young people on psychedelics, smoking pot, drinking. There were also quite a few older folk there doing the same thing. There were just as many people who were straight-sober, perhaps a few like myself that were somewhere in the middle. You could be watching the stage, diving into the light show, absorbing the music, studying the musicians or the melodies. No matter what your preference, you would not be disappointed. Perhaps this is what a group experience should be about.
A group experience. A mobius concept. Something that can be perceived. Something unmangled by your individual perception. The truest experiences are like sharing a bed with god. Things make sense without any one person having to put any thought into them. Tears because of pleasure, tears of utter comprehension. A ride on the wave, a drive on the plains. "All matter can be reduced to a single vibration". To be experienced is to understand this, and, well, experience it.
Here was my connection to this experience (and links to lyrics so you can find yours. Find music clips HERE):
15 Step "It comes to us all / It's as soft as your pillow"
There There "we are accidents / waiting waiting to happen" ... and I'm thinking, what, will this be a "best of" set? not that you could avoid it, given the solid state of all their songs... But I've seen them start the show with TT before. Frustration with the crowd sets in. Everyone is silent and non-moving, like they're waiting for Pyramid Song.
Morning Bell "Everybody wants to be a slave / walking walking walking..." I've taken it in my own hands to dance like the goofass I like to be here.
All I Need "I am a moth who just wants to share your light / I'm just an insect trying to get out of the night / I only stick with you because there are no others / You are all I need"
Pyramid Song "All my lovers were there with me / all my past and futures / and we all went to heaven in a little rowboat / there was nothing to fear and nothing to doubt" For a minute, I was here before (again). Thinking of you, thinking of me, thinking...
Nude " You paint yourself white / and feel up with noise / but there'll be something missing"
Weird Fishes / Arpegi " I'll hit the bottom / Hit the bottom and escape"
The Gloaming "Murderers / you murderers / We are not the same as you"
National Anthem "Everyone is so near, it's holding on" Conductor waves, here's where you all start dancing now.
Wolf at the Door " dance you fucker dance you fucker / don't you dare" ("i'm glad someone else is feeling this")
Faust Arp "You've got a head full of feathers / you got melted to butter"
Exit Music (for a film) " Today we escape, we escape." don'tlooseyournerve
Jigsaw Falling Into Place "This place is on a mission... just as you dance, dance, dance"
Idioteque "This is really happening.... Here, I'm alive"
Climbing Up the Walls "I am the eyes in the cupboard" Right before this song started, everyone shifted after dancing to Idioteque. The sea of people parted. I was left with a straight-on view of Thom Yorke and his guitar center stage. No one moved back into this plane of vision. He was in my head.
Bodysnatchers "Has the light gone out for you?" (this - "I've seen it coming" is when I affirmed that Thom can time-travel, as I found out later to be verifiable)
How to Disappear Completely "I walk through the walls, I float down the liffy" Look for the lighthouse, follow the beacon - we arrived by beeline to our friends in a sea of 20,000 people.
Videotape "You are my center / When i spin away"
Paranoid Android "Why don't you remember my name?... The panic, the vomit / God loves his children"
Dollars & Cents "All Over the Clovers" This is, perhaps, when most people get it.
Reckoner "We seperate like ripples on a blank shore"
Street Spirit "Be a world, child, form a circle / before we all go under (immerseyoursoulinlove)" Thom still humbles me, i was singing along at the top of my lungs. No one told me to shush, a subtle affirmation.
House of Cards "No matter how it ends / no matter how it starts" Chad and I were being goofy during this song, making our dino-APU/ABA noises that seemed to freak some people out, but was well worth the laughter of others.
Lucky "Pull me out of the aircrash / pull me out of the wreck / cause i'm your superhero / we are standing on the edge"
Everything In It's Right Place " What, what was that you tried to say? " ... The crowds fade out, the trash is everywhere. People come to start cleaning up, they shut down the doors, they look at the tripping stragglers with a "you don't even get it" look. Who are you? "Have you seen my friends in the green shirts and khaki shorts" / "No, I haven't" / "They're right THERE!" (swings arms around to display three of them).
Radiohead must have had at least 50 full time tour people with them, sounds lights stage techs alone. Someone to pick out the stylish clothes they were wearing. Plus all the management and producers that coordinates such a presentation. Bravo to each and every one of them. So, perhaps it wasn't the best Radiohead set I've seen, but the worst radiohead show I've seen was still one of the best concerts of my life, and the best go well into the realm of Zen.
After the concert, my blotto friends and I sat on the lawn til they kicked us out. Everyone around us seemed to have stayed too, perhaps trying to ward of the XX,000 people who had attended the show. Everyone around us seemed to just sit there, nodding and occasionally verbalizing "yeah. yeah." That was about all we could do too. Many great moments with people, many
Got back to the car (miraculously, considering the mobs and the way a parking lot changes when it's half empty). Spun some fire while listening to Consider the Source. If I prevented a few people from driving while too intoxicated, then I did my job, I suppose. Got a chance to talk with some great people, including Melanie, who says that the three pinnacle bands of our generation are Radiohead, Nine Inch Nails and Tool. I think I have to agree with her. Though, despite my love for all three bands, Radiohead may have gotten a head above with me over the years.
Other shows setlists (more for my own record-keeping and the future possibility of making mixtapes to hear these stories again): Suffolk Downs circa 2001; Tweeter Center in Camden, 2003; Blossom 2003; Blossom 2008.
8.03.2008
Janis Ian
Disclaimer: Until Friday, I knew Janis Ian only as a name, one used in conjunction with young, local roots-rocker Cathasaigh, or occasionally brought up in the Calliope Songwriter Circle. She seemed to be a well-respected vocalist and someone who I might be interested in listening to. However, it's not a given that I will be into a chick singer, but I do have a very soft spot for Joni Mitchell (and Alanis Morisette, and Jewell, and that was about it until a few years ago). Still, when a month ago, I spotted a sign for a live appearance at Joseph-Beth Booksellers in South Side, I thought I'd probably want to check it out.
I promptly forgot about it.
Flash forward again, back to Friday. Chad and I brought the car in to get looked at pre-Radiohead-in-Ohio, and decided to go to JBB to look at an article in AdBusters we'd been talking about over lunch. We got carried away in the bookstore, and stayed in the Magazine section alone for several hours. I stood up from where I was reading to pee. What is this crowd I see? Janis Ian is speaking in 5 minutes? Hmm....
Amidst a crowd of old heads in tie-dye, young lesbians, and music lovers, I really didn't look like I just happen to stumble upon this. My reaction didn't prove otherwise either. From the first few sentences, I was in love. She just had this honesty, likely from just writing an autobiography, and an integrity, perhaps from decades of life on the road. It was undeniable. It was visibly magnetic.
I cried as she talked about a performance where she ran off stage while 30 people in a crowd of 2,000 chanted "Nigger Lover" at her 15-year-old self. My god! I cried as she talked about how the promoter of that show told her she had to go back on stage: Not for her career or his bank account, but because if she didn't stand up to these inhumane people, they would have more confidence against the next performer they didn't like, the next thing that scared them.
I cried as she spoke of her mother, "who has been dying by inches for so long". I cried as she recounted a dream she had of her mother when MS finally took her breath, of seeing her mother run across the field, the scent of flowers clinging to her ankles. I cried as she spoke of how she did not know how to verify that this woman was actually passed.
I cried when she said that Jimi Hendrix was a very honest talent, also the most graceful of people.. I cried when she said that, in a time where people were hating her because she had been given, at 15, an opportunity that they had slaved their whole lives for, Jimi had been so kind.
And, I laughed. I laughed at her self-deprecating "I'm totally over Janis Ian" jokes. I laughed when she said she thought autobiographies were dreadfully boring, and that she preferred John Grisham and summer beach reads. I laughed when the wireless microphone gave out, and she confessed that she needed it after all. I laughed because she was funny, she was experienced, she was a bit crazy in the same way that most people I love are. I laughed because she was exciting decades after the spotlight had passed to less honest, less crazy performers.
I bought her CD, of course, and while it's not necessarily my style of preference, I am certainly glad I could experience the woman behind these songs. It sheds a light on how people become the artists they do: in her case, Perhaps I'll give it a good listen and a proper review here eventually, but for now, I will leave by saying Thank You, Janis Ian. Thank you from the bottom of my own performative heart.
I promptly forgot about it.
Flash forward again, back to Friday. Chad and I brought the car in to get looked at pre-Radiohead-in-Ohio, and decided to go to JBB to look at an article in AdBusters we'd been talking about over lunch. We got carried away in the bookstore, and stayed in the Magazine section alone for several hours. I stood up from where I was reading to pee. What is this crowd I see? Janis Ian is speaking in 5 minutes? Hmm....
Amidst a crowd of old heads in tie-dye, young lesbians, and music lovers, I really didn't look like I just happen to stumble upon this. My reaction didn't prove otherwise either. From the first few sentences, I was in love. She just had this honesty, likely from just writing an autobiography, and an integrity, perhaps from decades of life on the road. It was undeniable. It was visibly magnetic.
I cried as she talked about a performance where she ran off stage while 30 people in a crowd of 2,000 chanted "Nigger Lover" at her 15-year-old self. My god! I cried as she talked about how the promoter of that show told her she had to go back on stage: Not for her career or his bank account, but because if she didn't stand up to these inhumane people, they would have more confidence against the next performer they didn't like, the next thing that scared them.
I cried as she spoke of her mother, "who has been dying by inches for so long". I cried as she recounted a dream she had of her mother when MS finally took her breath, of seeing her mother run across the field, the scent of flowers clinging to her ankles. I cried as she spoke of how she did not know how to verify that this woman was actually passed.
I cried when she said that Jimi Hendrix was a very honest talent, also the most graceful of people.. I cried when she said that, in a time where people were hating her because she had been given, at 15, an opportunity that they had slaved their whole lives for, Jimi had been so kind.
And, I laughed. I laughed at her self-deprecating "I'm totally over Janis Ian" jokes. I laughed when she said she thought autobiographies were dreadfully boring, and that she preferred John Grisham and summer beach reads. I laughed when the wireless microphone gave out, and she confessed that she needed it after all. I laughed because she was funny, she was experienced, she was a bit crazy in the same way that most people I love are. I laughed because she was exciting decades after the spotlight had passed to less honest, less crazy performers.
I bought her CD, of course, and while it's not necessarily my style of preference, I am certainly glad I could experience the woman behind these songs. It sheds a light on how people become the artists they do: in her case, Perhaps I'll give it a good listen and a proper review here eventually, but for now, I will leave by saying Thank You, Janis Ian. Thank you from the bottom of my own performative heart.
8.01.2008
If your ears are going to bleed the next day, at least enjoy yourself... Ikonoklast, AgnesWFS
My ears are ringing! God, what a dreadful feeling. I went to bed listening to tiny welders trying to rebuild my eardrums. Really should invest in some earplugs, like a case, and carry them with me everywhere...
Rachel and I discussed this dilemma after the show (very loudly...). Down in Austin, where she now calls home, you can go to a metal show in a small bar, and still have your hearing when you leave! The music was adequatly loud, but because the sound techs are professionals, and understand how to saturate the sound without causing it to stick like napalm in your pores. I've tried to convince many a venue owner that a professional sound person is often more important than the gear, but that regardless, a bad sound can ruin a band.
Is this why Pittsburgh's scene gets a bad rep locally? I mean, it's certainly not for lack of talent in the bands department. However, the promotions department is surely lacking. Ikonoklast was a great band, treked from Phoenix, Arizona by way of Jersey to perform for all of 30 people. Agnes is one of the most talented local bands we've got. If it weren't for Agnes, attendance easily would have dropped into the low 1-digit. Chad designed a beautiful flier for the show and distributed
it around town and on the Agnes myspace. That's always been his contribution, with most of the promoters he works with doing the online aspect. It works, but without the other bands or promoter doing their part, well... it's self-explanatory, really. There is no such thing as an easy gig for an up-and-coming band. Period.
So, Ikonoklast! Heavy! This band started their set with one of the most heavy guitar-industrial songs I've ever heard. It only took two songs to get the crowd moving, which is sometimes a feat for a band that is new-to-Pittsburgh. Talented musicians too, particularly the drummer, who was playing a kit along to a backing track - that's pushing a tight-rope walker out on a bridge of floss, or spinning fire... while eating it. Creative and energetic musician amongst company of solid performers.
This genre is really interesting, the metal-meets-industrial sound. It's heavy, loud and in-your-face, but very good to dance to. There were traces of classical elements in the backing track, and the singer was very black-metal. And their bassist had crazylong dreadies, which I felt an immediate lust for. It shouldn't suprise me much anymore, though, as heavy metal hair has diversified a lot since it's inception.
But, seriously... What's up with the band doing one cover (nine inch nails' Wish, one of my favorites), and then the audience demanding other covers? It got to an absurd level, starting off with chants of "Depeche Mode!" and ending with "Brittney Spears". C'mon people, they're obviously not a cover band!
Despite my criticisms of the event, I had a blast. What a wild and energetic AgnesWFS set! Dancedancedancegocrazydancydancy. Rachel taught me a few great new dance moves, including one that I dub the peacock and involves letting your hands flap around your butt. Not your average goth-industrial move, but a hell of a lot of fun to do! Ask me to show it to you next time we run into each other, it will put smiles on both our faces ;0)
Ultimately, it's probably best that most of the people there were die-hard fans (and how good to see the old heads!) Agnes has sounded much better, we don't need to have them loose their much deserved street cred due to a sadistic sound tech.
In related news: Howlers has a stage! Not just a platform with a snake running out of one side, but an honest-to-goodness stage! They opened up the door for loading out the back, added about 2 feet of height, and now have one of the nicest venues in Bloomfield. Go Jo!
Rachel and I discussed this dilemma after the show (very loudly...). Down in Austin, where she now calls home, you can go to a metal show in a small bar, and still have your hearing when you leave! The music was adequatly loud, but because the sound techs are professionals, and understand how to saturate the sound without causing it to stick like napalm in your pores. I've tried to convince many a venue owner that a professional sound person is often more important than the gear, but that regardless, a bad sound can ruin a band.
Is this why Pittsburgh's scene gets a bad rep locally? I mean, it's certainly not for lack of talent in the bands department. However, the promotions department is surely lacking. Ikonoklast was a great band, treked from Phoenix, Arizona by way of Jersey to perform for all of 30 people. Agnes is one of the most talented local bands we've got. If it weren't for Agnes, attendance easily would have dropped into the low 1-digit. Chad designed a beautiful flier for the show and distributed
it around town and on the Agnes myspace. That's always been his contribution, with most of the promoters he works with doing the online aspect. It works, but without the other bands or promoter doing their part, well... it's self-explanatory, really. There is no such thing as an easy gig for an up-and-coming band. Period.So, Ikonoklast! Heavy! This band started their set with one of the most heavy guitar-industrial songs I've ever heard. It only took two songs to get the crowd moving, which is sometimes a feat for a band that is new-to-Pittsburgh. Talented musicians too, particularly the drummer, who was playing a kit along to a backing track - that's pushing a tight-rope walker out on a bridge of floss, or spinning fire... while eating it. Creative and energetic musician amongst company of solid performers.
This genre is really interesting, the metal-meets-industrial sound. It's heavy, loud and in-your-face, but very good to dance to. There were traces of classical elements in the backing track, and the singer was very black-metal. And their bassist had crazylong dreadies, which I felt an immediate lust for. It shouldn't suprise me much anymore, though, as heavy metal hair has diversified a lot since it's inception.
But, seriously... What's up with the band doing one cover (nine inch nails' Wish, one of my favorites), and then the audience demanding other covers? It got to an absurd level, starting off with chants of "Depeche Mode!" and ending with "Brittney Spears". C'mon people, they're obviously not a cover band!
Despite my criticisms of the event, I had a blast. What a wild and energetic AgnesWFS set! Dancedancedancegocrazydancydancy. Rachel taught me a few great new dance moves, including one that I dub the peacock and involves letting your hands flap around your butt. Not your average goth-industrial move, but a hell of a lot of fun to do! Ask me to show it to you next time we run into each other, it will put smiles on both our faces ;0)
Ultimately, it's probably best that most of the people there were die-hard fans (and how good to see the old heads!) Agnes has sounded much better, we don't need to have them loose their much deserved street cred due to a sadistic sound tech.
In related news: Howlers has a stage! Not just a platform with a snake running out of one side, but an honest-to-goodness stage! They opened up the door for loading out the back, added about 2 feet of height, and now have one of the nicest venues in Bloomfield. Go Jo!
7.30.2008
The Police = Arresting
Har har har, how I do love those puns...
We missed most of Elvis Costello's set after getting side-tracked into West Virginia, because the idea of buying beer at a gas station is delightful to us drinkin' folks from Pittsburgh. And because, until walking towards the PGP, I didn't think I knew any of his songs. Of course, as soon as I heard "Allison, you know this world is killing you", the synapses began firing. I never knew how much I liked that song! The finalae I also knew, "(What's so funny 'bout) peace love and understanding", though I know it better as a Perfect Circle cover - a cover so good evocative that it is a bit hard to appreciate the original form. Obviously, I am in no great position to judge Elvis' performance, but it did seem everyone was having a great time.
After the perfect amount of time for a set-break (read: few were rushing to get back to their seats after the concession lines, few were still reeling from EC's set), The Police come on with "Message in a Bottle" to thunderous applause. They were last in town the year I was born, over 2 decades ago, and everyone - EVERYONE - from the bathroom to the front row, was singing along. Nice choice, guys.
Really, just a very tight and interesting set. A lot should be expected from veterans such as the Police, and a lot was indeed what they delivered. The highlight of the evening was a superb performance by drummer Stewart Copeland during "Wrapped Around my Finger". He started out playing on the 5'+ gong behind his drum kit, and proceeded to masterfully use every piece of percussion equipment on stage - which included many different types of
Perhaps the cheesiest moment was "Roxanne", where their stage show turned into entirely red-lights. However, I happen to enjoy good cheese. To the delight of all the 40-and-50-somethings that were getting higher than they have in years (I merely assume, due to the 2nd hand buzz I was getting), was a nearly Grateful-Dead caliber space-jam in the middle of this field of color.
Despite the wonderful evening, unless I get a full 8 hours of sleep the night before the show, I will not attempt to go to a PGP concert. We did a bit of fire-dancing in the parking lot, but left no later than 11pm. At 1:30, we arrived at home, after the insane amount of construction, car accidents, and intoxicated people slowing down to 40 to pass parked police. I could understand if the band was at the side of the road, but seriously people! If you were that drunk, you could've slept in your cars for a few hours. There were a group of young, intoxicated chaps hanging while we were fire dancing who were *smartly* discussing this option. And I didn't see their car making out with a guardrail. Way to ruin a great night for yourself, dumbass. However, if you were in this traffic too, I was talking about ramming my car into yours the whole way home (emay + tiredorhungry = mean ol' ho).
Ravenstahl, if you read this blog, please consider massive amounts of PGP traffic due to sold-out-near-to-Pittsburgh-shows when you schedule road construction. Please!!!!
7.27.2008
House of Assassins, Buddy Nutt and the Gothees
With an opener like Buddy Nutt, how could I possibly miss my first House of Assassins show?
I just found out recently that Buddy's first live performance was at an open mic I hosted at Squirrel Hill's tiny-and-sweet Te Cafe. He played a song on the saw, and we were impressed enough to call for an encore, but with a humble shrug he says "that's all i've got" and leaves the stage. A few months later, he shows up at the first Globalista Jam with a three-ended didgeridoo and proceeded to play a 10-minute instrumental piece that ended with coins spewing out the end all over the floor.
That being said, Buddy is one of the best entertainers in Pittsburgh. Whether his set is strictly his (un)usual one-man-band-insanity, or the even-more-wonderful experimental side of things, he has yet to disappoint an audience.
Saturday was no exception. Starting out his set by saying he's never peed on stage at the BBT (or any other BBT for that matter) was not his usual introduction, but you can never expect something to be expected at a BN performance. The set included most of my favorite songs, including "To Watch Her Blow", a sing-along song about a girlfriend who plays the euphonium, creates balloon animals, and acts in amateur porn); "Open Mic King", a telling song about a man ("say what?" "Buddy Nutt!") who goes from zero-to-royalty due to "this tiny guitar" (read: ukulele); and the "Ping Pong Song", which aptly describes a (different?) man's journey from the underbelly of American vices to the zen of table tennis. Yes, another extraordinary set from a man who is easily one of the best performers in Pittsburgh.
Additionally, his stage antics would teach even seasoned performers how to play off things you just can't avoid easily (like having to sound-check with an audience present, or having your phone go off in your pocket). I have seen people answer their phone on stage. This is simply a bad practice. Not only does it totally bore your audience, it also tells them that your friends don't even show up for your shows. The only time I've ever seen Buddy pull out his phone was at Lawrenceville's Art All night, where he followed the action with "It's my mom. I'll have to call her back." I'm actually convinced he was simply checking the time to see how much of it he had left. Bravo, Buddy, well played.
Comedian Zack Weston kept people laughing during the set breaks, with such humorous lists as World War II pornography titles ("Torpedo your U-Boat"), and names of songs on an if-I-wrote-a-blues album ("This god-damned train is too loud"). A story about the trash-eating lion at kennywood and a nasty little kid kept the audience in stitches.
The same cannot be said for the other comedians, however. Didn't quite get the mathematician humor, but perhaps I just need to be broken in to the idea of laughing at a math teacher talking about her students. I can't even remember what the third comedian was poking fun at.
The Gothees weren't all that much more impressive. Self-described as "bubble-goth", they may be interesting to someone who loves Bauhaus, has a fetish for cardboard cutouts, or secretly wants to play Theremin in a rock band. I fall into only the later category, and therefore cannot say a whole lot here without feeling like I'm talking without authority about something which I could simply care less about. In that case, on to something else to dig my teeth into...
House of Assassins' myspace page self-proclaims them as sounding like "Yinzer Bukowski". This simple statement helped bring about a thought I've been having for a while on Pittsburgh Music. Just refer to the city in a genre-title, and, to those in the know, it becomes a bit more defined. Devilish Merry as "Traditional Pittsburgh", Girl Talk as "Pop-burgh REEEmix", the 9th Ward as "Larryville Punk", etc. It's a nice reflection of the city, from the immigrant/freedom-trail/religious-mecca/nativeland roots, to our blue-collar golden-years (perhaps steel-years is a better choice for this), up to the present robo-silicone boom. There are so many small genres in Pittsburgh, and so many variants of the more common genres, that it may come as a suprise to folks from here and beyond that there is a common theme running through. We're from Pittsburgh, the music says it whether we do or not.
This genre may be even more real than that little synopsis. Ethnomusicologist Robert Metil has defined it for a class at Chatham College. I'm in the process of defining it in my own way, with an essay on the history of music in Pittsburgh. Give me a few years, though.
Featuring Jason "The Underwater Culpret" Baldinger on vocals, Rob "I Do Everything" Grey on bass, and Alan "Drummer" Butera, House of Assassins do have a true-to-yinz, interesting sound. There are elements of country and psych-rock that are obvious (and delicious, i say!), but dig a little deeper and you find some goth, punk, and vague trip-hop elements. Very Pittsburgh, to combine such diverse sounds. Or very dork-music-fans, as their collective album collections can attest to.
Chad described their sound as "Crunk Punk-try", which seemed very appropriate. We also decided that if Mazzy Star had in fact been three male love-children of O'Death and . However, I did not, off the top of my head, recognize any of their myspace influences.
HoA spent much of the night redefining what a beginning and end of a song should sound like (whether or not this was on purpose is still, from this vantage point, indeterminate). My only major tsk-tsk is that the audience mainly saw their backs. Even if that was on purpose, it still does a band no justice at all.
The audience very well could have been packed with a rowdy college crowd, screaming back the obscure and poetic lyrics while drinking. I do hope, come fall, this happens. This music would indeed go great in a dank and crowded basement with a few kegs of Pabst. Or licensed for Quentin Tarantino's next film.
"Singing like an Albatross at a funeral for a friend" : what a beautiful line! Chad thinks it was a Superman reference, which i could not validate as fact or fiction. HoA plays again at Howlers in Bloomfield on August 10th
An important note: Several ConclusionsRob Grey's haunting solo project should be immediately recognized as a force to be reckoned with. Another band that sounds very Pittsburgh, with a bit of old-timey roots, a few eerie samples, on a solid foundation of 90's alternative. I look forward to seeing this project progress.
As for "Maudeville"? Well, I am a bit miffed about the whole Bea Arthur, or Maude of Golden Girls fame, thing. After a bit of internet searching, it doesn't seem like she has the type of cult fan-base that would inspire whole evenings of bizzaro music at staple Pittsburgh venues. Perhaps that is just the point: find someone/thing interesting to idolize, find the best/most quirky parts of that person, and run with it. Create weird evenings. Call it beautiful. That I do like. Like Princess Di with less of the humanitarian aspect, or Harry Potter on a smaller scale.
After a bit more research, I find out that Bea is a renaissance woman not unlike myself: commedienne, singer, actress, activist. Call me converted!
7.23.2008
Buddy Nutt & Ukelizzy at the Children's Museum
What is the best meat to put in a day-sandwich, stuffed between slices of pouring-rain-on-a-bike and paying-a-sh*tton-of-loochie-to-get-your-license-reinstated? Ukelizzy and Buddy Nutt performing at the Children's Museum!
What an awesome backdrop for Buddy and Lizzy - less the kids, and more their parents who were totally engrossed. There was an explosion of kid-cheers from the side of the stage which got Lizzy to stop in the middle of the song, saying "I could've just kept going, but I wanted to hear that one through". And Buddy performed some of his more experimental songs, slightly reminiscent of the first Globalista Jam, which were perhaps more appropriate for kids, employing birdcall, saw and slide-whistle just slightly more than the delicious witty satire we've come to expect.
As usual, I hope to see much more from this delightful duo! Buddy performs this weekend at the Bloomfield Bridge Tavern with House of Assassins and the Gothees
What an awesome backdrop for Buddy and Lizzy - less the kids, and more their parents who were totally engrossed. There was an explosion of kid-cheers from the side of the stage which got Lizzy to stop in the middle of the song, saying "I could've just kept going, but I wanted to hear that one through". And Buddy performed some of his more experimental songs, slightly reminiscent of the first Globalista Jam, which were perhaps more appropriate for kids, employing birdcall, saw and slide-whistle just slightly more than the delicious witty satire we've come to expect.
As usual, I hope to see much more from this delightful duo! Buddy performs this weekend at the Bloomfield Bridge Tavern with House of Assassins and the Gothees
6.28.2008
Best in the 'Burgh showcase
Between Liberties was invited to be a part of a series called "Best in the Burgh", whose fourth event occurred last night. Typically, I am skeptical about singer-songwriters getting together to promote the singer-songwriter genre, for the same reason my college poetry professor abhorred poems about poetry: self-referential rarely means insightful or inspiring. People who want to pay a few bucks to see music want to *enjoy* it, and unless you're REALLY F*ING TALENTED, they don't want to see your up-and-coming days (c'mon, you know all S/SW's want a full band backing their songs) . Plus, I'm talking talented like Tracy Chapman, Tom Waits, Leonard Cohen... you see? These kind of talents are few and far between, and take a lot of honing to become the stars whose names we all recognize (or, in LC's case, a mishap during surgery which accidentally changes the timbre of your voice). They don't show up at every singer-songwriter jam, they just don't.
This is why open stages are a great thing for singer-songwriters: they give a chance for an audience of (primarily) musicians to see them, critique their work, network, perhaps band up and play together (this is how Between Liberties formed, after all). But, when we're talking "showcases", singer-songwriters just don't draw a crowd beyond friends and family. And, if you're not a performer, let me tell you that it flat out sucks to pay to perform. It sucks to have your friends pay the venue for "giving you a stage", when you have to pay your tab, for your SO's ticket, in addition to your guitar and years of therapy. That's why many of us stay on the songwriting end: the energy and charisma it takes to perform often and well enough to draw beyond this built-in crowd is draining, not always rewarding, sometimes humiliating, and almost always life-consuming. Performers are a rough and tough breed, because we have to be to pursue our dream.
With that said, I typically choose not to be a part of a show which bills itself as a singer-songwriter showcase unless I think it will be awesome (I had this accurate hunch with the BitB show), or if I have something to do with the project. Like the Calliope Songwriter Circle CD release parties, the last of which put Sam Flesher, Peter Donovan and David King on stage at Your Inner Vagabond. While I'm on this subject, what a fantastic show: 2 of the 3 performers brought along accompanying bands; the crowd was of moderate size, but VERY APPRECIATIVE of the witty, engaging songs that these performers wrote. They audience came to listen, something which, for the reasons above, can be hard to come by for the singer-songwriters.
And as a mid-side note, one which will negate most of what I've said already, I've always been impressed with the caliber of the songwriters in Pittsburgh. Many of the older guys in the Calliope SWC have their heritage in the steel industry (like the wonderful Bruce Hoffman, who has kindly asked me to appear on his upcoming CD), and write songs about the working life and hard times in a way just as convincing as Bob Dylan and Woody Guthrie. These folks are not concerned about "hitting the big time" like a lot of the young folks, but about sharing their stories with other people who will listen and share their own stories. Now, like myself, there are a handful of women and young folks in the crowd, and many of their songs are likewise very honest and touching. Sue Gartland's sweet brand of folk music/stories of growing older and reflections on having children make me excited, nervous, and glad about eventually doing the same; Cathy Stewart's gritty country ballads are just flat out rockin'.
The Songwriter Circle's open-mic host and fearless leader, John Hayes, not only writes some of the most amazing songs I've heard come out of a Pittsburgher (like my favorite, with the chorus line "You can fuel the fight or you can fuss all night, but people have the right to be wrong", about socio-political differences and how it's divisionary nature is humorous, albeit painful at times), but he also provides insight to artists who are pursuing their dreams, helping them to recognize strengths and weaknesses that are not easily perceived from the inside. He has been a great mentor for me, and I know am not the only one who can say the same. John's CD release party for Midnight Cabaret shows just how good he is at picking up on talent: with four of the finest singers in the city appearing on the album, he had each of their personalities and strengths on display simply by giving them the songs which suited them best (Gail Novak got the sassy, funny songs; Autumn Ayers sang the songs of youthful honesty; Daphne Alderson sang songs that reflected depth and knowledge of a seasoned professional; and Christine Laitta got the theatrical character-pieces). If you know any of these singers, or you are a musician who has talked with him yourself, you know how spot-on John Hayes is.
Ahem...
With that (excessively) full disclosure out of the way, let me say that last night's BitB showcase was *phenomenal*. Joel Lindsey, a man of excessive talent himself, managed to pick a wonderfully diverse and exceptionally talented group of performers for the showcase. Joel's band was a lively accompaniment to them, and his addition of a Djembe player (not just a guy with a djembe, but one who makes music with the instrument), was perfect, really. As a duet, Joel and Jim were almost too talented for this small city, and when news of their 3rd piece came about, I thought to myself "he's got to be at least as good as these guys to have them stay afloat". Last night, I was not disappointed in the least, and I have a hunch that Boulevard of the Allies will travel a distance much farther than Downtown-to-Greenfield.
In addition to Between Liberties, the project I live and dream, there were (in order of appearance):
Sense in December - What a talented group of teenagers. Yes, these guys are bound for glory. As I assume they just graduated from high-school, their future is bound to be uncertain. However, I have no doubt that these guys, individually or in whatever form they pursue, could continue writing excellent pop-rock tunes for a long time to come. Their lead guitarist seemed to have an ear well beyond-pop-rock, throwing in a bits which were perhaps flamenco-inspired, perhaps inspired by rock and roll from well before they were born... These guys are who I am listening to while writing this blog, and while I can't say I've ever been a big fan of the emo-inspired genre, it is appropriate for that age group at this moment in time, and their singer was singing good lyrics which fit for the genre. It is a great amalgam of talents, and they meshed well, which is really the most I can ask for from any musicians, age aside.
Exit 57 - Molly Rae and her band came straight from music school, it is no surprise, they were a solid group of musicians writing songs about sensitive and important things most songwriters won't address. During their set, though, I was having problems with the sound: it's hard to take excessive boom out of a vocal performance when the voice is already a high-pitched one. It seems weird to take out all the low-ends on a voice like Molly's, but it would have made the most sense. My props to the sound man for doing a damn good job with all these performers, though. And I'll just tell you now that it sometimes really sucks to be a sound-tech while watching a show, just for these nit-picky reasons that most people will never think to notice... Still, Molly's expressive performance distracted me plenty from my sound-girl ears. Think Tori Amos, I think.
Derek Dysart - I can't really say anything pro or con about these guys, just that we must think on the same plane. Two days ago, Wytold (BL's cellist) and I found ourselves in front of a store display advertising color-therapy sunglasses. After many jokes about gonads and seeing god, we decided it would be fun to wear all-black and these sunglasses while on stage. Derek Dysart performed before us, however, donning the same sunglasses (one pair even the same color as my own), and it fit their cock-star all-the-girls-want-me persona way better than ours. So, half ashamed and mostly amused, we left the sunglasses off (we forgot to wear all black anyways). I could see people enjoying DD's songs, but I just couldn't get over the synchronicity of the sunglasses.
Christopher Laughry - we were getting ready for our set at this point, but what I caught of Chris and his companion, they were tried and true musicians who loved what they were doing. It came through in their songs and their performance, which was really nice!
The Lost Sea - Touching music, really. I enjoyed these songs thoroughly, despite having packed away most of my cry-myself-to-sleep music for the winter. I was disappointed, perhaps, with the fact that the singer wasn't at all interested in tuning his guitar on stage, and announcing this to an audience which contained a lot of musicians ("so rock and roll" said Chris of Boulevard of the Allies... but was it that kind of music?). Really, it's just nice when musicians value their music enough to value their audience's ears. Also, I can totally appreciate an artist not wanting to chit-chat with riff-raff after a show, but when I say "hey man, really enjoyed the tunes" and the response is a "here's our demo. it's not mastered yet" as a free, un-packaged CD gets pushed in my hands, well, it kind of turns me off to the idea of, you know, going to the release party, or approaching him again for, say, booking a show together. Perhaps they just weren't in the mood to make good first impressions, though, and I'll try not to hold it against them.
Nik Westman and the Central Plains - What a pleasant surprise, an old pal from open mic's past joins with his full band (a more acoustic-version than usual, apparently), and had such a great sound. What do they sound like? Well, the Central Plains, of course, perhaps the view from the back porch. A real and honest sound, gritty at times, bluesy at others, but mostly a low-key rock (not soft-rock, mind you, there were no keys or excessive backup vocals), chill and good spirited. Nik and his band mates are talented, to be sure, and are also good and kind people too, something I never ever take for granted.
The Deceptions - While I was perhaps too warm and burnt-out of good music (my ears get tired after hour 3) to truly appreciate their set, and instead mostly appreciated fresh air, I will say that the songs I saw of the Deceptions were rockin. The accordion was a great addition to a rock-and-roll set (who would've thunkit?). Solid, good ol' soft rock sound.
So, hurrah Joel, for an excellent evening of entrancing music, and I wish you continued success in your musical career. I will use my enjoyment of the evening as an excuse to ignore the bands' misguidance of the financial particulars of the charity... Just, as constructive criticism, try not to announce these accidentally during the show.
This is why open stages are a great thing for singer-songwriters: they give a chance for an audience of (primarily) musicians to see them, critique their work, network, perhaps band up and play together (this is how Between Liberties formed, after all). But, when we're talking "showcases", singer-songwriters just don't draw a crowd beyond friends and family. And, if you're not a performer, let me tell you that it flat out sucks to pay to perform. It sucks to have your friends pay the venue for "giving you a stage", when you have to pay your tab, for your SO's ticket, in addition to your guitar and years of therapy. That's why many of us stay on the songwriting end: the energy and charisma it takes to perform often and well enough to draw beyond this built-in crowd is draining, not always rewarding, sometimes humiliating, and almost always life-consuming. Performers are a rough and tough breed, because we have to be to pursue our dream.
With that said, I typically choose not to be a part of a show which bills itself as a singer-songwriter showcase unless I think it will be awesome (I had this accurate hunch with the BitB show), or if I have something to do with the project. Like the Calliope Songwriter Circle CD release parties, the last of which put Sam Flesher, Peter Donovan and David King on stage at Your Inner Vagabond. While I'm on this subject, what a fantastic show: 2 of the 3 performers brought along accompanying bands; the crowd was of moderate size, but VERY APPRECIATIVE of the witty, engaging songs that these performers wrote. They audience came to listen, something which, for the reasons above, can be hard to come by for the singer-songwriters.
And as a mid-side note, one which will negate most of what I've said already, I've always been impressed with the caliber of the songwriters in Pittsburgh. Many of the older guys in the Calliope SWC have their heritage in the steel industry (like the wonderful Bruce Hoffman, who has kindly asked me to appear on his upcoming CD), and write songs about the working life and hard times in a way just as convincing as Bob Dylan and Woody Guthrie. These folks are not concerned about "hitting the big time" like a lot of the young folks, but about sharing their stories with other people who will listen and share their own stories. Now, like myself, there are a handful of women and young folks in the crowd, and many of their songs are likewise very honest and touching. Sue Gartland's sweet brand of folk music/stories of growing older and reflections on having children make me excited, nervous, and glad about eventually doing the same; Cathy Stewart's gritty country ballads are just flat out rockin'.
The Songwriter Circle's open-mic host and fearless leader, John Hayes, not only writes some of the most amazing songs I've heard come out of a Pittsburgher (like my favorite, with the chorus line "You can fuel the fight or you can fuss all night, but people have the right to be wrong", about socio-political differences and how it's divisionary nature is humorous, albeit painful at times), but he also provides insight to artists who are pursuing their dreams, helping them to recognize strengths and weaknesses that are not easily perceived from the inside. He has been a great mentor for me, and I know am not the only one who can say the same. John's CD release party for Midnight Cabaret shows just how good he is at picking up on talent: with four of the finest singers in the city appearing on the album, he had each of their personalities and strengths on display simply by giving them the songs which suited them best (Gail Novak got the sassy, funny songs; Autumn Ayers sang the songs of youthful honesty; Daphne Alderson sang songs that reflected depth and knowledge of a seasoned professional; and Christine Laitta got the theatrical character-pieces). If you know any of these singers, or you are a musician who has talked with him yourself, you know how spot-on John Hayes is.
Ahem...
With that (excessively) full disclosure out of the way, let me say that last night's BitB showcase was *phenomenal*. Joel Lindsey, a man of excessive talent himself, managed to pick a wonderfully diverse and exceptionally talented group of performers for the showcase. Joel's band was a lively accompaniment to them, and his addition of a Djembe player (not just a guy with a djembe, but one who makes music with the instrument), was perfect, really. As a duet, Joel and Jim were almost too talented for this small city, and when news of their 3rd piece came about, I thought to myself "he's got to be at least as good as these guys to have them stay afloat". Last night, I was not disappointed in the least, and I have a hunch that Boulevard of the Allies will travel a distance much farther than Downtown-to-Greenfield.
In addition to Between Liberties, the project I live and dream, there were (in order of appearance):
Sense in December - What a talented group of teenagers. Yes, these guys are bound for glory. As I assume they just graduated from high-school, their future is bound to be uncertain. However, I have no doubt that these guys, individually or in whatever form they pursue, could continue writing excellent pop-rock tunes for a long time to come. Their lead guitarist seemed to have an ear well beyond-pop-rock, throwing in a bits which were perhaps flamenco-inspired, perhaps inspired by rock and roll from well before they were born... These guys are who I am listening to while writing this blog, and while I can't say I've ever been a big fan of the emo-inspired genre, it is appropriate for that age group at this moment in time, and their singer was singing good lyrics which fit for the genre. It is a great amalgam of talents, and they meshed well, which is really the most I can ask for from any musicians, age aside.
Exit 57 - Molly Rae and her band came straight from music school, it is no surprise, they were a solid group of musicians writing songs about sensitive and important things most songwriters won't address. During their set, though, I was having problems with the sound: it's hard to take excessive boom out of a vocal performance when the voice is already a high-pitched one. It seems weird to take out all the low-ends on a voice like Molly's, but it would have made the most sense. My props to the sound man for doing a damn good job with all these performers, though. And I'll just tell you now that it sometimes really sucks to be a sound-tech while watching a show, just for these nit-picky reasons that most people will never think to notice... Still, Molly's expressive performance distracted me plenty from my sound-girl ears. Think Tori Amos, I think.
Derek Dysart - I can't really say anything pro or con about these guys, just that we must think on the same plane. Two days ago, Wytold (BL's cellist) and I found ourselves in front of a store display advertising color-therapy sunglasses. After many jokes about gonads and seeing god, we decided it would be fun to wear all-black and these sunglasses while on stage. Derek Dysart performed before us, however, donning the same sunglasses (one pair even the same color as my own), and it fit their cock-star all-the-girls-want-me persona way better than ours. So, half ashamed and mostly amused, we left the sunglasses off (we forgot to wear all black anyways). I could see people enjoying DD's songs, but I just couldn't get over the synchronicity of the sunglasses.
Christopher Laughry - we were getting ready for our set at this point, but what I caught of Chris and his companion, they were tried and true musicians who loved what they were doing. It came through in their songs and their performance, which was really nice!
The Lost Sea - Touching music, really. I enjoyed these songs thoroughly, despite having packed away most of my cry-myself-to-sleep music for the winter. I was disappointed, perhaps, with the fact that the singer wasn't at all interested in tuning his guitar on stage, and announcing this to an audience which contained a lot of musicians ("so rock and roll" said Chris of Boulevard of the Allies... but was it that kind of music?). Really, it's just nice when musicians value their music enough to value their audience's ears. Also, I can totally appreciate an artist not wanting to chit-chat with riff-raff after a show, but when I say "hey man, really enjoyed the tunes" and the response is a "here's our demo. it's not mastered yet" as a free, un-packaged CD gets pushed in my hands, well, it kind of turns me off to the idea of, you know, going to the release party, or approaching him again for, say, booking a show together. Perhaps they just weren't in the mood to make good first impressions, though, and I'll try not to hold it against them.
Nik Westman and the Central Plains - What a pleasant surprise, an old pal from open mic's past joins with his full band (a more acoustic-version than usual, apparently), and had such a great sound. What do they sound like? Well, the Central Plains, of course, perhaps the view from the back porch. A real and honest sound, gritty at times, bluesy at others, but mostly a low-key rock (not soft-rock, mind you, there were no keys or excessive backup vocals), chill and good spirited. Nik and his band mates are talented, to be sure, and are also good and kind people too, something I never ever take for granted.
The Deceptions - While I was perhaps too warm and burnt-out of good music (my ears get tired after hour 3) to truly appreciate their set, and instead mostly appreciated fresh air, I will say that the songs I saw of the Deceptions were rockin. The accordion was a great addition to a rock-and-roll set (who would've thunkit?). Solid, good ol' soft rock sound.
So, hurrah Joel, for an excellent evening of entrancing music, and I wish you continued success in your musical career. I will use my enjoyment of the evening as an excuse to ignore the bands' misguidance of the financial particulars of the charity... Just, as constructive criticism, try not to announce these accidentally during the show.
6.23.2008
Uni & Tippy Canoe
Last night at Your Inner Vagabond, the stage was graced by some dynamic and magnetic women. On tour from San Francisco, Uni and Tippy Canoe performed pass-the-baton style for an enthusiastic and attentive audience here in the 'burgh, with our very own Midge Crickett performing her tear-and-knee-jerk original tunes. I laughed, I cried, I danced. What more could a gal ask for on a Sunday evening?
Before the show, I was unaware that the uke was an instrument born from Portugal. What a country, this Portugal! How fitting to also have the lovely and evocative paintings of Portugese painter Joana Ricou lining the walls of YIV. And one step beyond that, the evening and the art resonated within this sense of feminine power: not in the attention-demanding, confusion-inducing, end-all-to-be-all way that masculine power has become in our current patriarchy. No, it was much more of a "we are beautiful, yes, and we have much control over our lives and our situations, sure. But we do what we do out of authority, as we understand ourselves and the ways of our world in the simplest way: by growing up female."
If that doesn't make sense (I'm still deciding if it does for me), perhaps it is also apt to describe this feminine energy as one that frees minds to dreams, hopes and possibilities, while grounding us in the reality that everything we do ultimately effects all of existence. It is an intelligent power, one with the grace and security of trees.
Opening the set on her Cello, Midge Crickett set the night on fire. She is full to the headstock of witty observations, clever connotations, and awkward hilarity. Song themes range from being state educated (and therefore never quite knowing what to call the country or the people of Prague) to pirate shanties about skin afflictions and STD's (a character piece of the highest order). A perfect pick for any cabaret event, your next house party, or opening for a famous stand-up comic: Midge Crickett is a songstress and performer ready to write songs and shed humor upon whatever wacky thing life throws at us.
Uni's ukulele jack got jacked (appropriately enough), so she was instead billed as Uni & Tippy's Ukulele. Having recently left her job at the awesome Amoeba Music in San Francisco to pursue her musical dream, her first step was booking a European tour! What awesome gonads, girl! A song which describes this reach for the stars held the line "What is most important can take a while." An insight of wisdom that more people should reference.
Atop her beautiful performing style, her grace on stage, and her fun, inspiring songs, what struck me most was her voice. With a delicate control which often reminded me of Joana Newsom, she embraced the full range of emotions, topping out at a wail akin to Alanis Morissette or Ryat of As Human. For those of you who know my taste in female vocalists, you know how much I appreciated Uni's dynamic stylings. And if you don't know my tastes, perhaps it is best said that I have no doubt in my mind that Uni and her delightful ukulele could ensnare an audience of any size, in any country, at any time in history.
While it would be unfair to judge dear Tippy Canoe's voice or performance, simply due to a killer case of the plague she picked up on tour, I still have much praise for her. She chose to still perform as well as her voice would let her, and she did it with a sense of humor and graceful wit, advising the audience to refer to her as Mr. Waits, and sipping off a small flask of "Canadian perfume" for healing purposes. Also a particularly friendly and open person, something this agent *never* takes for granted, I do hope she returns to Pittsburgh with her voice and her band, The Paddlemen.
Video of the YIV show:
Before the show, I was unaware that the uke was an instrument born from Portugal. What a country, this Portugal! How fitting to also have the lovely and evocative paintings of Portugese painter Joana Ricou lining the walls of YIV. And one step beyond that, the evening and the art resonated within this sense of feminine power: not in the attention-demanding, confusion-inducing, end-all-to-be-all way that masculine power has become in our current patriarchy. No, it was much more of a "we are beautiful, yes, and we have much control over our lives and our situations, sure. But we do what we do out of authority, as we understand ourselves and the ways of our world in the simplest way: by growing up female."
If that doesn't make sense (I'm still deciding if it does for me), perhaps it is also apt to describe this feminine energy as one that frees minds to dreams, hopes and possibilities, while grounding us in the reality that everything we do ultimately effects all of existence. It is an intelligent power, one with the grace and security of trees.
Opening the set on her Cello, Midge Crickett set the night on fire. She is full to the headstock of witty observations, clever connotations, and awkward hilarity. Song themes range from being state educated (and therefore never quite knowing what to call the country or the people of Prague) to pirate shanties about skin afflictions and STD's (a character piece of the highest order). A perfect pick for any cabaret event, your next house party, or opening for a famous stand-up comic: Midge Crickett is a songstress and performer ready to write songs and shed humor upon whatever wacky thing life throws at us.
Uni's ukulele jack got jacked (appropriately enough), so she was instead billed as Uni & Tippy's Ukulele. Having recently left her job at the awesome Amoeba Music in San Francisco to pursue her musical dream, her first step was booking a European tour! What awesome gonads, girl! A song which describes this reach for the stars held the line "What is most important can take a while." An insight of wisdom that more people should reference.
Atop her beautiful performing style, her grace on stage, and her fun, inspiring songs, what struck me most was her voice. With a delicate control which often reminded me of Joana Newsom, she embraced the full range of emotions, topping out at a wail akin to Alanis Morissette or Ryat of As Human. For those of you who know my taste in female vocalists, you know how much I appreciated Uni's dynamic stylings. And if you don't know my tastes, perhaps it is best said that I have no doubt in my mind that Uni and her delightful ukulele could ensnare an audience of any size, in any country, at any time in history.
While it would be unfair to judge dear Tippy Canoe's voice or performance, simply due to a killer case of the plague she picked up on tour, I still have much praise for her. She chose to still perform as well as her voice would let her, and she did it with a sense of humor and graceful wit, advising the audience to refer to her as Mr. Waits, and sipping off a small flask of "Canadian perfume" for healing purposes. Also a particularly friendly and open person, something this agent *never* takes for granted, I do hope she returns to Pittsburgh with her voice and her band, The Paddlemen.
Video of the YIV show:
Agnes Wired for Sound at Elise's Playground
Saturday evening at Mr. Smalls was a great opportunity for me to explore a world I've been dabbling in coffeehouse-style over the past few years. Running sound for Agnes Wired for Sound let me see the effect a big stage with a large, quality sound system has on a group of dancing folks. It also let me chat with one of their resident sound tech's, who has been a tour manager and sound tech for reputable bands like H.I.M. and reputable venues like CBGB's. As these are both things I'd enjoy doing at some point in my career, it was nice to meet someone who had balanced both and was enjoying the life (and not to the fault of excess, as many others I have met). He was a great help in running a board I had not been previously introduced to, but he handed it over to me at the beginning of the Agnes set - something I have found too few men are willing to do.
Agnes Wired for Sound is a band that has gone through enough changes that we may as well say they are well into young-adulthood. No longer a young band constantly struggling with equipment and lineup issues , no longer an adolescent band reveling in a growing notion of celebrity, no longer a college-aged band indulging beyond their physical capacity: Agnes is now a full-fledged band, ready to stand the test of time to the world they present themselves to.
Some background for newfound Agnes fans: Having gone through an extremely difficult loss of former front-man Ben Bloom at the preparation of their debut album, their future was uncertain for the past few years. Some friends and fans of Mr. Bloom's were hesitant (some even opposed) to supporting AgnesWFS in continuing their musical journey. The band, of course, went through many of these same debates, and knew that regardless of anything else, Ben would have supported their decision to keep the music on. And we, their die-hard fans, are glad they did.
Mike of Opus One Productions, a promoter who seems to be great at assessing risks and still bringing the most interesting shows possible to his audience, asked me where AWFS was making waves. Having worked with an amazing cadre of headlining acts and sideshow performers, I would say they are certainly one of the most talented and hard-working groups in this city. Pittsburgh has also embraced Agnes WFS's new lineup, encouraged their forward-motion, and danced their asses off. HEY AGNES, WE WANT YOUR 2ND ALBUM ALREADY! After that, we want you to tour your asses off to share the exciting and interesting music we in your hometown have grown to expect from you.
If you came to the Smalls show as a fan to dance and sing along, as a musician who's interested in studying the often complex structures, or a reviewer looking for the next hot thing, you got what you wanted. With all due respect to the touring acts, Agnes stole the show.
However, we can't ignore the magnetic appeal of the Elise's Playground fetish performance. Another fantastic show from the ladies-and-gents of EP. Ms. Elizabeth Couteau was the archangel of the evening: she performed a burlesque dance during Agnes WFS's cover of Concrete Blonde's "Bloodletting", acted as head Dom during the Hansel and Gretel themed performance, and choreographed the set. An amazing performer with a stage (or, in this case, floor) presence, I can't say I've ever met a woman who could make getting beaten up look so appealing. Her co-conspirators were likewise excellent for the parts, and I might even say I was a bit jealous ;0) I mostly enjoyed the intimate, "hey this is for real" nature of the performance on the floor, though it is hard to keep everyone in the audience happy when they can't see every spank.
The whole evening is a fun chance for big kids to play dress up - Big Kid style. Like, "hey, I like you, and I would enjoy leading you around by a leash all night. Cool?" However, even my bandmates made it down, and I'm assuming they've never been to anything like this. But they seemed to enjoy themselves quite a bit! EP provides a fun, relaxed, entertaining, and non-threatening environment(unless you're being chased by a 24" sticky dildo... but what can I say, I get myself into these situations...)
It always pays to be present at any Elise's Playground or Agnes WFS show. While my video of the evening didn't turn out so well, check out this video I took at an Agnes show back in April (?), featuring a totally impromptu performance from many dancing ladies, including Melissa of Ishtar, Ms. Couteau, and yours truly (I can't be let out of the house... Just discovered this photo on the internet while looking for good pix of EP.. hahaha!).
Agnes Wired for Sound is a band that has gone through enough changes that we may as well say they are well into young-adulthood. No longer a young band constantly struggling with equipment and lineup issues , no longer an adolescent band reveling in a growing notion of celebrity, no longer a college-aged band indulging beyond their physical capacity: Agnes is now a full-fledged band, ready to stand the test of time to the world they present themselves to.
Some background for newfound Agnes fans: Having gone through an extremely difficult loss of former front-man Ben Bloom at the preparation of their debut album, their future was uncertain for the past few years. Some friends and fans of Mr. Bloom's were hesitant (some even opposed) to supporting AgnesWFS in continuing their musical journey. The band, of course, went through many of these same debates, and knew that regardless of anything else, Ben would have supported their decision to keep the music on. And we, their die-hard fans, are glad they did.
Mike of Opus One Productions, a promoter who seems to be great at assessing risks and still bringing the most interesting shows possible to his audience, asked me where AWFS was making waves. Having worked with an amazing cadre of headlining acts and sideshow performers, I would say they are certainly one of the most talented and hard-working groups in this city. Pittsburgh has also embraced Agnes WFS's new lineup, encouraged their forward-motion, and danced their asses off. HEY AGNES, WE WANT YOUR 2ND ALBUM ALREADY! After that, we want you to tour your asses off to share the exciting and interesting music we in your hometown have grown to expect from you.
If you came to the Smalls show as a fan to dance and sing along, as a musician who's interested in studying the often complex structures, or a reviewer looking for the next hot thing, you got what you wanted. With all due respect to the touring acts, Agnes stole the show.
However, we can't ignore the magnetic appeal of the Elise's Playground fetish performance. Another fantastic show from the ladies-and-gents of EP. Ms. Elizabeth Couteau was the archangel of the evening: she performed a burlesque dance during Agnes WFS's cover of Concrete Blonde's "Bloodletting", acted as head Dom during the Hansel and Gretel themed performance, and choreographed the set. An amazing performer with a stage (or, in this case, floor) presence, I can't say I've ever met a woman who could make getting beaten up look so appealing. Her co-conspirators were likewise excellent for the parts, and I might even say I was a bit jealous ;0) I mostly enjoyed the intimate, "hey this is for real" nature of the performance on the floor, though it is hard to keep everyone in the audience happy when they can't see every spank.
The whole evening is a fun chance for big kids to play dress up - Big Kid style. Like, "hey, I like you, and I would enjoy leading you around by a leash all night. Cool?" However, even my bandmates made it down, and I'm assuming they've never been to anything like this. But they seemed to enjoy themselves quite a bit! EP provides a fun, relaxed, entertaining, and non-threatening environment(unless you're being chased by a 24" sticky dildo... but what can I say, I get myself into these situations...)
It always pays to be present at any Elise's Playground or Agnes WFS show. While my video of the evening didn't turn out so well, check out this video I took at an Agnes show back in April (?), featuring a totally impromptu performance from many dancing ladies, including Melissa of Ishtar, Ms. Couteau, and yours truly (I can't be let out of the house... Just discovered this photo on the internet while looking for good pix of EP.. hahaha!).
6.14.2008
The Gypsy Nomads
Another lovely band to grace the stage at Your Inner Vagabond. This kind and artistic duo was a pleasure to watch, not only because their stage presence and songs were exquisite, but also as an inspiration to expand my percussion on stage during solo shows.
French-born nomad Samantha was a beautiful singer, dancer, and percussionist. She passed out shakers and tambourines during one song (which the audience played and even ended on cue - amazing!). She spoke only french during their second set.
Scott not only played guitar, percussion and looped (and sang on a few songs), he also designed the beautifully sensual and psychadelic artwork which graced their merch table (some of which I have hanging on my wall at the moment). Lovely poses of bodies turning into trees which then grow fingers.
Love it!
We recorded their set with our Zoom H3 and a video camera, and will get some of that goodness up. In the meantime, please enjoy this clip:
French-born nomad Samantha was a beautiful singer, dancer, and percussionist. She passed out shakers and tambourines during one song (which the audience played and even ended on cue - amazing!). She spoke only french during their second set.
Scott not only played guitar, percussion and looped (and sang on a few songs), he also designed the beautifully sensual and psychadelic artwork which graced their merch table (some of which I have hanging on my wall at the moment). Lovely poses of bodies turning into trees which then grow fingers.
Love it!
We recorded their set with our Zoom H3 and a video camera, and will get some of that goodness up. In the meantime, please enjoy this clip:
6.11.2008
As Human / Kilo from Philadelphia
I've found some kind of amazing solace in this band. Saw them first at the Thunderbird opening for Omega Love. Blew away my idea of what a TBird show could be (and I've seen some great shows there). It is hard to keep your eyes off a band with a presence this engulfing, and with eyes front-and-center, the caliber of these musicians was clear. While most jammy-bands can lose an audience who isn't already lost in a haze, these guys could take you on the most far-out trip without a drop of anything mind-altering. Their ability to stay solid in the emotive elements of the trip is something that few bands can claim, and it was clear that the band themselves were bringing this experience to you from that far-away place accessible exclusively to artists, the enlightened, and the f'd-up.
Yesterday, I found myself writing a song they could perform, and realizing how much Ryat's vocals have stuck with me since their show. She was doing something so timelessly experimental - yet so forwardly *now*. Perhaps she was the inspiration for my new loop-pedal toy, perhaps my future inspiration for a KAOS pad. Inspirational, regardless.
As Human (they were Kilo when I saw them there) is celebrating their debut CD release on June 21st, and if you're anywhere close to Philadelphia at that time, I insist you go. I will reimburse you for your ticket if you think they were not worth every cent of your $12. Regardless of my comments earlier, if you happen to imbibe in any kind of psychotropic substances, I would encourage it. Your paradigm would most certainly be shifted.
Yesterday, I found myself writing a song they could perform, and realizing how much Ryat's vocals have stuck with me since their show. She was doing something so timelessly experimental - yet so forwardly *now*. Perhaps she was the inspiration for my new loop-pedal toy, perhaps my future inspiration for a KAOS pad. Inspirational, regardless.
As Human (they were Kilo when I saw them there) is celebrating their debut CD release on June 21st, and if you're anywhere close to Philadelphia at that time, I insist you go. I will reimburse you for your ticket if you think they were not worth every cent of your $12. Regardless of my comments earlier, if you happen to imbibe in any kind of psychotropic substances, I would encourage it. Your paradigm would most certainly be shifted.
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