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Straight to Video
Rock Art Rock
The Decemberists
September 19, 2009
Terminal 5, New York, NY
By Amanda Hatfield "The Decemberists played a special one night 'lottery show,' where the songs played were picked at random by a master of ceremonies, played by John Wesley Harding..."
Ra Ra Riot
April 4, 2009
Webster Hall, New York City, NY
By Amanda Hatfield "This show was, at the time, the biggest one Ra Ra Riot had sold out as headliners, and it was clear to me after watching it that the band is destined for even bigger and better things..."
Florence and the Machine
October 28, 2009
Bowery Ballroom, New York City, NY
By Amanda Hatfield "Florence Welsh and her backing band delighted and mesmerized a sold-out crowd at Bowery in her first official NY headlining show..."
Dirty Projectors
July 19, 2009
Williamsburg Waterfront (Brooklyn, NY)
By Amanda Hatfield "I was skeptical about how well Dirty Projectors' gorgeous, complex vocal harmonies would carry over outdoors, standing under hot sunshine..."
See more in the Rock Art Rock gallery.
Most Read Articles
- The Smoke-Filled Room: Music and a Woman’s Right to Choose
- What Goes On: Liam Gallagher Reveals Post-Oasis Plans, and Other News
- My Life Is the Road: Clarence White and Jim Morrison Stretch on a 747
- It Shows, What Goes On: Live Show Review: Devo at the Regency Ballroom, San Francisco
- What Goes On: This Just In: Steven Tyler Is the Rainbow
- Reviews: Weezer: Raditude
- Introducing: His Name Is John Michael Rouchell
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The Day Van Dyke Parks Went Calypso
When 80,000 barrels of oil spilled into the waters of the Santa Barbara Channel in January of 1969, the crude-splattered water, beaches, and birds along the California coast in its aftermath became the symbols of modern eco-disaster. While the ensuing public outcry helped hasten the formalization of the environmental movement as we now know it, for musician Van Dyke Parks, the spill and “the revelation of ecology,” as he calls it, was a very personal, life-altering occasion. “It changed my M.O. and changed my very reason for being,” he says. The Union Oil rig rupture in Santa Barbara made Parks go calypso.
“When I saw the Esso Trinidad Steel band, I saw myself in a Trojan Horse,” he says. “We were going to expose the oil industry. That’s what my agenda was. I felt it was absolutely essential.” From 1970 to 1975, Parks waged awareness of environmental and race matters through the music and culture of the West Indies, though in the end, “You don’t know whether to laugh or cry. That’s what makes Van Gogh go,” he says, “That’s what great art does.” Though Parks is referring directly to Esso Trinidad’s happy/sad steel drum sounds, he could just as easily be talking about his own experience during what we’ll dub the Calypso Years. read more
Clarence White and Jim Morrison Stretch on a 747
On October 29, 1970, the Byrds flew to Miami for a series of concerts, happy to escape to the road after all the drama surrounding recording in LA. Roger McGuinn had decided we could use a little first class relaxation, so Jimmi Seiter upgraded our plane tickets. We’d deal with the accountants, who were notoriously frugal, upon our return.
As we boarded the plane, we noticed that the spacious section of the plane held only two other passengers, one of whom looked familiar. A collective sigh of relief could be heard as the Boeing 747 lifted off from LAX. Shortly after takeoff, Clarence White strolled over to the other occupants, chatted a while, and returned with the familiar one, whom everyone now recognized. Jim Morrison of the Doors, a little heavier than when we had previously seen him, was traveling to Miami with his lawyer for an arraignment over charges that he had exposed himself onstage at a recent concert.
“We’re going upstairs to the lounge for a drink,” Clarence said. “Wanna join us?” Now, flying back then was rather different from today’s security-driven flights. Among other things, first class on a 747 included a well-fortified bar, which we were all looking forward to visiting. I loved those jumbo jets for their spiral staircases and penthouse watering holes. In a moment, all of us were upstairs, ordering drinks from a pretty flight attendant behind the bar.
Within an hour or two, Clarence replaced the attendant behind the bar, mixing Brandy Alexanders for the rest of us while Jimmi schmoozed the stewardess. By now, most of us were well buzzed and happy. It didn’t take much for a relaxed Morrison to coerce Clarence into a game of “stretch” using the guitarist’s Swiss Army knife. The two lined up and began tossing the blade into the floor, accurate throws sticking in the plane’s thick wall-to-wall carpet. The rules of the game required a player to place a foot wherever the blade stuck, players alternating turns until one or the other stretched out to their bodily limits and finally giving in or falling over.
Jim took a lead early in the game, his taller body and longer arms and legs giving him an advantage. Whack! He’d throw the knife and Clarence would stretch. Thud! Clarence threw the blade and Jim stretched. After a while, Clarence turned the tables on Jim, painfully stretching the singer out close to the floor.
“You got him now, Clarence!” I yelled, “Get ’em!” One more throw, I figured, and Morrison would be done. Suddenly, the co-pilot walked into the lounge unannounced, and all activity stopped dead. He sternly looked at all of us.
“Enough!” he shouted with authority. “Time to calm down.”
“And you,” he said, pointing to the stewardess, “you are needed downstairs.” We were
busted! Feeling guilty, everyone in the lounge grinned sheepishly at his rebuke, turning our eyes away from him, boys with their hands caught in the cookie jar.
“Okay, now,” he said softly after the attendant returned to the main cabin downstairs. “Let’s smoke some of this.” A chunk of hash magically appeared in the co-pilot’s palm. No one could believe it! Jimmi blocked the staircase to prevent anyone else, including other flight crew or even Jim’s lawyer, from entering. Someone produced a pipe, and Roger dipped into his ubiquitous bag of gadgets, emerging with an Ozium sprayer to mask the smell of the burning hash.
It was one wild ride to Miami, drinking Brandy Alexanders and smoking with the Byrds, Jim Morrison, and the co-pilot. I felt lucky that there had been no emergencies requiring the co-pilot’s expertise! After landing, everyone quietly got off the plane, even though we were all completely bombed and buzzed. We all put on sunglasses to shut out the bright Miami sunshine from our bloodshot eyes and disembarked as if nothing had happened. I concluded that Jim’s attorney suspected something, but I’m sure he was happy to avoid hearing the details. We were back on the road again!
Watch: The Doors in 1970, “The End” [at youtube.com]
Williamsburg: Amazing Baby vs. Savoir Adore
Psychedelic indie act Amazing Baby has been in existence for less than two years. In that time, they’ve signed a record deal, filmed a video with naked hipster babes, rode a giant wave of blog hype, and partied with Bill Murray, who saw one of their shows and recruited them to help him find the fountain of youth.
Savoir Adore, meanwhile, arrived on the scene with just as much talent but far less razzle-dazzle. Though, like Amazing Baby, they hail from that mecca of artsy privilege, Williamsburg, Brooklyn, their irrepressibly giddy, pure pop tunes haven’t set the buzz machine in motion for some reason. While plenty of folks have fallen for their album In the Wooded Forest, the Fader profiles, groupies, and movie star camaraderie have been slow in coming.
Both groups have benefited from ties to MGMT, the psych-rock outfit that found worldwide success last year. Savoir Adore signed with Cantora, the indie label that released MGMT’s 2005 Time to Pretend EP, while Amazing Baby’s guitarist Simon O’Connor palled around with MGMT’s Andrew VanWyngarden and Ben Goldwasser at Wesleyan College, itself something of an indie music farm system.
O’Connor and Amazing Baby’s other founding member, lead singer Will Roan, met each other after their college bands were booked together for a New York show. “I think I was hooking up with the same girl at the same time as someone in Simon’s band,” says Roan, adding that he’s fairly certain it wasn’t O’Connor.
They played a number of shows together, and after O’Connor graduated, he moved into a pad in Brooklyn, where Roan would crash whenever he came down for the weekend during his final year at Bard College. The pair began collaborating on various band projects and later worked together in a music distribution office, where their duties included crafting ringtones. In 2008, they formed Amazing Baby, focusing on a studio-centric sound that included layer upon layer of percussion, guitar, and keyboards. Their live shows, meanwhile, featured as many as 10 people on stage at a time, and early praise for the group was swift and unequivocal. “I think people liked the spectacle of this crazy band,” Roan says. Eventually, the lineup was rounded out with bassist Don Devore, guitarist Rob Laakso, and drummer Matt Abeysekera.
After releasing an EP called Infinite Fucking Cross last summer, they were pursued by a number of labels and ultimately signed with Shangri-La, who put out their full-length debut, Rewild, in June. Many of the reviews focused on the album’s seemingly hallucinogenic-powered prog, psych, and goth rock, as well as the group’s hipster aesthetic. Some of this had to do with their video for Rewild track “Headdress”, which featured topless girls, wearing paint and capes, prancing around in the woods.
Then there was the encounter with Bill Murray, who dropped in on their 2008 Halloween show wearing a rubber mask with black glasses. He and Roan hung out all night long, attending a house party, smoking cigarettes on a roof, and drinking bourbon on a friend’s couch. Notes Roan: “It’s one of the few stories I can tell where my mom is jealous.”
Savoir Adore’s story is far less flashy. Principal members Paul Hammer and Deidre Muro met while students at NYU, where Hammer played in a group catering to “sorority girls,” he says. Both possessing musical backgrounds, they decided to play a show together and then later conceived an album almost spontaneously. While on a train ride to visit Hammer’s parents at their home in a bucolic section of Holmes, New York, Hammer and Muro brainstormed the plot for what would become their first EP, The Adventures of Mr. Pumpernickel and the Girl with Animals in Her Throat. A concept record focusing on a professor and his meetings with a troubled student and a fairy who lives among the trees, it showcased the pair’s great talents for collaboration. Taking turns on vocals and instruments, they introduced the harmony-heavy, ever-sincere fantasy pop that would become their signature sound.
They return regularly to Holmes, where Hammer’s father Jan—a jazz and rock
keyboardist who was enormously popular in the ’70s and ’80s and crafted the Miami Vice theme song—has a studio. Savoir Adore recorded In the Wooded Forest there, trading off on guitar, drums, and bass for hours at Hammer’s studio, which actually is ensconced in the middle of a wooded forest. While successfully employing a sound that suits their strengths, the full-length lacks a unified storyline like their EP, but boasts more fleshed-out tracks. At times, the preciousness can be a bit overwhelming, but songs on the album like “MERP” and “Early Bird” are as euphoric and hummable as anything to come out of Williamsburg this past year.
Their work seems not to contain an ounce of pretension. Savoir Adore certainly isn’t trying to impress anyone with their cool, and their seeming lack of self-consciousness is responsible for much of their appeal.
Amazing Baby also developed much of their music during long jam sessions. While employed at the music distribution company, they spent their evenings making music until the wee hours, allowing themselves only as much sleep as was absolutely necessary. Their goals were somewhat different from Savoir Adore’s, however. Roan told Spin that they were “desperate to convey a feeling of ecstasy.” Indeed, almost every one of their tracks is epic, or at least strives to be epic. While they often succeed in this regard—songs like “Kankra” and “Pump Your Brakes” are full, bombastic, and satisfying—it often feels like they’re breaking off more than they can chew. Much of Rewild lags, bogged down by excessive instrumental wankery and semi-pretentious lyrics that are difficult to wrap one’s mind around. (“We are starving cannibals / She protects her animals,” from “Smoke Bros”, has been particularly derided.)
With only one album each to judge them on, one could make a pretty good case that both Amazing Baby and Savoir Adore have the potential for long, gratifying careers. For the time being, however, the latter act’s less pretentious way of conducting business has led to a more satisfying catalog.
Listen: Amazing Baby, Various Tracks [at myspace.com]
Listen: Savoir Adore, Various Tracks [at myspace.com]
Black Lips Hit the Road, and Other News
If you’re never seen the Black Lips perform live, well, you should. They go nuts. Expect to be splashed with beer and spit, and possibly be the oldest person there. But that’s all okay because their live show is super fun. They’ll be back from Europe this winter to hit some select cities in the States, so if they swing by your neck of the woods, check ‘em out. (CMJ)
Justin Timberlake should get back in the studio to make another album already, but looks like for now, he may be voicing the Yogi Bear character Boo Boo in the forthcoming animated film. (Paste)
Pennsylvania dwellers, rejoice. Ian MacKaye will be speaking at Franklin and Marshall College in Lancaster on November 20th at a 500-person auditorium. Suggested donation is five bucks. (Punk News)
M.I.A. is reportedly back in the studio making a new album. Her producer says “it’s like Gucci Mane meets Animal Collective.” Intriguing. (Strange Glue)
Read more news after the jump. read more
Your Handy Guide to the Month in Music
Well, finally. After an entire summer spent twiddling my thumbs and waiting for some halfway decent shit to start happening, it finally has. Kanye, Taylor Swift, the Beatles, Jay-Z, Girls… Ellen DeGeneres! September has come and gone, people, but it was good to us while it was here. Let’s look back on it.
This Month’s Most Notable News Stories
Kanye West Hates Taylor Swift or Whatever
For those of you still fighting the urge to fully give yourself over to the whims of the biggest stars from the world of popular music and culture, there were probably bigger news stories during September. But for the rest of us, there was no such thing. The moment Kanye West interrupted Taylor Swift as she received the VMA for Best Female Video, we knew we were going to be in for an amazing week. First, the Twitter universe went crazy, and then it went a little crazier. By the next morning, all the major news outlets—and all the minor ones, too—chimed in, and that following night, Kanye appeared on the premiere of Jay Leno’s new 10pm talk show. Not a day later, the internet was overrun with “Imma let you finish” parodies, and that went on for a pretty long time. It was awesome, then less awesome, then not awesome at all. As for fallout from the incident, who knows? Kanye just cancelled an upcoming tour with Lady Gaga for no apparent reason, so something could definitely be going on there. And my mom thinks he’s a jerk now, so that can’t bode well for him either.
Happy Mondays at the Regency Ballroom, San Francisco
Happy Mondays
September 17th at the Regency Ballroom, San Francisco
“Son, I’m 30 / I only went with your mother ’cause she’s dirty.”
That’s when it hit me.
NoInsuranceLand: The Health Care Music Scene
Lou Thomas is a great guy. Not just a talented bassist/guitarist/songwriter, but an all-around affable, intelligent dude that cares about his friends and others. Thomas is a part of the thriving music mecca that is Portland, OR. He works in a coffee shop a few days a week and lives paycheck to paycheck in order to devote as much time as possible to the bands he plays in, including the critically acclaimed A Weather, whose hushed, immaculate first album, Cove, was released last year to glowing reviews all over the web and beyond. Thomas also plays in the louder, lesser-known four-piece Chores, which is pretty much Everyband, USA, lauded for being both melodically adventurous yet 100 percent pretension-free in the comparatively small bit of press they’ve gotten so far. Chores also just released their debut LP, The Subtle Politics of the Public Hammock, on Field Hymns Records. Between the two, Thomas experiences a pretty full spectrum of what life is like for the small-time, struggling recording artist that lives for, but doesn’t make a living from, his music.
One of the under-heralded grassroots gems on the Chores LP is a song called “Noinsuranceland”, and you can probably guess what it’s about. A bike accident at age 15 left Thomas with a knee that would continue giving him problems over the years, though it had been years since the last sign of any ailment, up until one fine day in 2007 when he was walking through a Portland park and a little girl asked him for a push on the swings. “I stepped wrong on the mulch,” Thomas recounts in an email exchange, “fell over in pain, and passed out for a few seconds.” Broke and uninsured, he dealt with it as shrewdly as possible. He found a ride to the emergency room, skirting the ambulance fees at least. “This is where the story gets complicated,” Thomas says.
He needed to see a knee specialist who could order an MRI, yet without insurance, this meant Thomas was basically fucked. Fortunately, it turned out that his boss was just about to roll out a health insurance plan at the coffee shop, but not for a couple months. “So I saw the specialist, but then put off getting the MRI until the insurance kicked in.” He managed to get the ER and specialist fees reduced by 75 percent by being broke enough to qualify for government assistance and having the wherewithal to plow through the requisite mounds of paperwork. Even then, “It was expensive, but manageable,” Thomas says.
Apples in Stereo
Apples in Stereo
#1 Hits Explosion
(Yep Roc, 2009)
Some have already questioned the need for this product, whose title simultaneously mocks its own superfluity and celebrates the kooky K-Tel nostalgia these Elephant 6 torchbearers have always lovingly and unaffectedly made their own. And it’s true: Burn your own disc from iTunes, and this time make sure to bring “7 Stars”, “Sunndal Song”, “Stream Running Over”, “Look Away”, “Baroque”, and “She’s Telling Lies.” But what #1 Hits Explosion signifies is nice: A well-respected band of three-star reputation lobbying to be taken seriously as contenders at the end of a decade marked by heavy-hitting titles like Funeral and Hell Hath No Fury. Robert Schneider was happy to languish, churning out mathematically air-tight pop at home in between getting his weird friends off the couch to make Holocaust-era epics, seeming somewhat like a sideman in his own collective. His tunes got fluffier, bubbling up for Cartoon Network spots now and again, with innocence so unfeigned that even the cast of American Idol was permitted to take his most wide-eyed tune, “Energy”, for a joyride. And earlier this year, the cheerful, bald frontman didn’t have to jump far from his adult persona to become Robert Bobbert, his wackier children’s music project.
Although aging as gracefully as a Beatles-besotted psych-daddy can in latter-day pop or indie, Schneider is rightfully entertaining the desire to rise up with gloves on. Yep Roc isn’t the sort of label that goes around dropping cash-vacuum best-ofs; Apples in Stereo isn’t the sort of band that demands their fans pay double. What he seems to want as the ultimate prize is pop-songwriter fetishization. A greatest hits, a best-of with his name on it, a “best” period, something Apples in Stereo fans probably don’t waste many Twitter characters on before dropping another tab of acid to In the Aeroplane Over the Sea.
Rock the Bells at Shoreline Amphitheatre, SF
Rock the Bells
August 9th at Shoreline Amphitheatre, San Francisco
“What you’re about to see… is what we’ve been trying to put together for a while: Peace, love, unity. This is what this music is about.” In an act of unity, a banner falls from the top of the stage as KRS-One, host of Rock the Bells, announces this year’s headliners: Nas and Damian Marley. Representing two segments of hip-hop culture, a portrait of Nas against Brooklyn’s skyline and a snapshot of Marley in front of Kingston’s horizon provided the backdrop for their performance and the final act of Rock the Bells on the final night of the 2009 tour.
“Hip-hop is dead,” Nas chanted as he swaggered onto the main stage for his shared set with Marley, the “Jamrock” prodigy. With a populous band ensemble and a twirling Rastafarian flag, Nas reminded the crowd of an era when the mainstream rejected hip-hop, when the game was about delivering a message instead of an advertisement, when hip-hop spoke for the community instead of the corporations who commission it. “Reminiscin’ when it wasn’t all business / If it got where it started / So we all gather here for the dearly departed.” Spitting rhymes to a crowd of over 10,000 people, Nas berated the “rap culture” hip-hop has become throughout tracks like “One Mic”, “Made You Look”, and “Road to Zion”, his duet with Marley off their new collaborative album, Distant Relatives. While Nas commanded the crowd’s attention for his more popular songs like “The World Is Yours”, Marley got them to move. Covering a slew of his legendary father’s discography, Damian jived with two frenetic vocalists and the Roots’ guitarist, Captain Kirk Douglas, who wailed electric blues throughout his set. Dancing around on stage with meters of bouncing dreadlocks, he finished off the evening with “One Love.” While Nas and Marley’s pleas of unity may have been romantic, their sentiments were echoed by other performers throughout the day.

Beck Comes Out on Top of Ridiculous, Somewhat Imaginary Band Feud
by: Jocelyn Hoppa
SO. Way back in August, before we even had this blog, Radiohead released a one-off charity track called “Harry Patch (In Memory Of).” Patch was the last surviving UK veteran of WWI and died just recently at the age of 111. Proceeds from the single benefit the British Legion. Seems like a nice, sensible thing for a band to do, right?
Well, on November 3rd, the webzine Spinner ran an interview with the Fiery Furnaces in which the brother half of the duo, Matthew Friedberger, upon being told that Radiohead sent out a mass email describing the tribute, went fucking apeshit about it. He said, “F— you! You brand yourself by brazenly and arbitrarily associating yourself with things that you know people consider cool. That is bogus. That’s a put-on. That’s a branding technique and Radiohead have their brand that they’re popular and intelligent. So they have a song about Harry Patch.”
Confused? You should be. While I’m sure Harry Patch was a real cool guy, it’s a rather suspect thing for a band to align themselves with so to appear as thought they are all cool and obscure with their references. As it turns out, Friedberger confused war veteran Harry Patch with American composer Harry PaRtch. D’oh! Good one, dude.
THEN. Then, because he obviously had to answer to what was at least perceived as his giant fuck up, Friedberger issued a statement saying that he knew all along that it was Harry Patch, duh, and he just thought it would be funny to make a joke. Is that even believable though? I dunno…
The story gets better and continues on after the jump. read more
by: Jocelyn Hoppa
published: November 20, 2009 in column: What Goes On
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