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Tuesday, October 25, 2011

CMJ Recap: Badges? We Don't Need No Stinkin' Badges!

Aaand we're back! 

I had hoped to update my travels around the CMJ Music Marathon in semi-real time last week. But in hindisght, that was probably a little too ambitious. Between panels during the day, endless showcases at night and the general frantic rhythm of of the city, I barely had time to catch my breath, let alone sit down and write. So, in the interest of jotting my scattered thoughts down and sharing what I found, here are a some highlights — and maybe a lowlight or two — from the week that was.

BEST SHOW (CMJ EDITION): The Lumineers

Denver's the Lumineers put on the coolest show I saw during the Music Marathon, and it wasn't really close. The trio had the crowd at the Mercury Lounge hanging on — and often singing along with — every melodious word with an irresisitble blend of sing-song pop and rootsy Americana that recalls the sweeter side of the Avett Brothers, or perhaps Bowerbirds in their more uptempo moments. 

Here's a video of one of my favorite tunes, "The Dead Sea."

 

And here's one from a performance at the Skinny Pancake in Burlington last March.   

Continue reading "CMJ Recap: Badges? We Don't Need No Stinkin' Badges!" »

Wednesday, October 19, 2011

CMJ Day 1: Sleep Disorders

Howdy, folks. And welcome to the 2011 CMJ Music Marathon, virtual edition, live from drizzly New York City. 

After a delay plagued arrival in NYC yesterday afternoon and a minor fiasco at registration — no, we don't know, or care, who you are. So you just go ahead and wait two hours for your credentials like everybody else, asshole — I finally found myself settled in for four days of rock and or roll in the city that never sleeps.

For the uninitiated, the CMJ Music Marathon is kind of like an east coast version of South by Southwest. For the next four days, every single band in the world will descend on the city and play showcase gigs at clubs and bars all over Manhattan and Brooklyn, in hopes that some killer label or high-powered record exec will discover them and turn them into the next Vampire Weekend. OK, that's maybe a slight exaggeration. It only feels like every band on the planet must be here. Still, it's an underground music lover's paradise. So obviously, the first thing on my agenda this week was … um, standup comedy. 

Eschewing the musical madness in Manhattan (for one night, anyway), I decided to begin the week's journey last night in Park Slope, Brooklyn, at a bar called Union Hall, for a performance by standup comic Mike Birbiglia. Birbiglia is a personal favorite, and the opportunity to catch him in an intimate setting was too good to pass up. I wasn't disappointed. And yeah, it was part of the Music Marathon. So there.

If you've never seen or heard him — he's an occasional contributor to "This American Life" and "the Moth" on NPR — Birbiglia is not a traditional standup. He doesn't tell jokes so much as stories about his own bizarre life experiences and general social awkwardness. While his bits are often wincingly uncomfortable, he also also exudes an irresistible charm that lures you in. Even when riffing on topics as dark as cancer or death, there is a sweet vulnerability in his style that makes him uncommonly relatable. His weaknesses and insecurities — outlandish almost to the point of caricature — make your own seem somehow more manageable. Or at least less crippling by comparison.

Sporting a scruffy beard, his set in the cramped basement of Union Hall — a remarkably cool bar overall, though the noise from the joint's indoor clay bocce courts upstairs was occasionally distracting … yes, you read that correctly — was an unguarded glimpse into Birbiglia's uniquely skewed psyche. The set was billed as his most recent touring show and album, "My Girlfriend's Boyfriend." In reality, it was a loose mix of stories from that show, his "What I Should Have Said Was Nothing" days and his off-Broadway show, "Sleepwalk with Me." But even his more familiar and structured bits — for example, his well-documented battle with sleep disorder — took on an almost improvisational feel. At times, it was as if he was opening his mental notebook to let us see his sketches in their rawest form. It was a treat.

Particularly engaging was the impromptu Q&A with which he closed his set. Birbiglia answered questions about living in New York (very expensive, apparently … who knew?), the week he spent living in a display window at Macy's (kinda creepy) and whether he ever hears from Dennis Eckersley. (That's a great story.) He also mentioned that he's currently editing a film version of "Sleepwalk With Me." You can check out a clip of the standup version below. 

  

 

 

 

 

Wednesday, August 03, 2011

So, About All Those Fun Shows at Parima …

It seems things at Parima are devolving faster than anyone expected. As Joe Adler, now-formally the talent buyer at the doomed Thai restaurant/music joint, writes today, the upcoming music calendar has been pretty much wiped clean, from now until the Pearl St. haunt closes in mid-September. All but a few shows have been canceled — including Burgundy Thursday tonight and the entirety of this weekend's slate. The full list of canceled shows is below. In other news, fuck.

Canceled Shows

Thurs, 8/4 - Burgundy Thursdays with Joe Adler featuring The Beerworth Sisters / Dusty Jewels / Don & Jenn
(Singer/Songwriter / Main Stage) 8:30pm, $3

Fri, 8/5 - Kelly Ravin with Lisa Marie Fischer opening
(Blues Rock / Main Stage) 7pm, $3

Fri, 8/5 - Second Agenda
(Rock Hop Rebel Folk / Main Stage) 10pm, $3

Sat, 8/6 - Modern Grass Quintet ‏
(Bluegrass / Main Stage) 7pm, $3

Sat, 8/6 - Squid City / Project Organ Trio
(Jazz / Rock / Main Stage) 9:30pm, $5

Sun, 8/7 - Queen City Bossa
(Bossa Nova / Main Stage) 7pm, $3

Thurs, 8/11 - Eric and Matthias
(Singer/Songwriter / Main Stage) 7pm, $3

Thurs, 8/11 - Burgundy Thursdays with Joe Adler featuring Carrie Ferguson / Bill Buyer / Chris Lewis / Tim Berry
(Singer/Songwriter / Main Stage) 7pm, $3

Fri, 8/12 - Last October
(Acoustic/Folk / Main Stage) 7pm, $3

Fri, 8/12 - Charley Orlando with Steve Hartmann opening
(Jam/Soul/Rock / Main Stage) 9:30pm, $5

Fri, 8/12 - African Party
(Acoustic Lounge) 11:30pm, $5, 60/40 (doors at 11)

Sun, 8/14 - Sarah Louise Pieplow / The Wendigos
(Punky Folk/Garage Rock / Main Stage) 7pm, $3

Wed, 8/17 - Too Tight Trio with Kip Meaker
(Blues Rock / Main Stage) 7pm, $5

Thurs, 8/18 - Burgundy Thursdays with Joe Adler featuring Phil Yates & The Affiliates / Jimmy Ruin / Chris Jenkins / UMMA / TBA / TBA
(Singer/Songwriter / Main Stage) 7pm, $3

Sat, 8/20 -  Matt Graham Quartet
(Jazz / Main Stage)7pm, $3



Wed, 8/24 - Too Tight Trio with Kip Meaker
(Blues Rock / Main Stage) 7pm, $5

Thurs, 8/25 - Burgundy Thursdays with Joe Adler featuring Robin Reid / James McSheffrey / Clara Berry / Kevin Greenblott / TBA / TBA
(Singer/Songwriter / Main Stage) 7pm, $3

Fri, 8/26 - Ragged Glory
(Neil Young Tribute / Main Stage) 7pm, $3

Fri, 8/26 - Funkwagon with Dr Ruckus opening
(Funk/Soul / Main Stage) 10pm, $5

Sat, 8/27 - Clara Engel
(Blues/Experimental / Main Stage) 7pm, $3

Sat, 8/27 - Bobby Messano Band with Midnight Jones opening
(Blues / Main Stage) 10pm, $5

Fri, 9/2 - Black Mountain Symphony
(Progressive Folk / Main Stage) 7pm, $3

Fri, 9/2 - Roots Center Benefit featuring TBA
(Main Stage) 10pm, donation

Sun, 9/4 - Zack duPont's "Let's Make A Record" Sessions featuring The Bob Wagner & Brett Lanier Duo and Maryse Smith
(Singer/Songwriter / Acoustic Lounge) 7pm, $3

Wed, 9/7 - Too Tight Trio with Kip Meaker
(Blues Rock / Main Stage) 7pm, $5

Thurs, 9/8 - Burgundy Thursdays with Joe Adler featuring Robby Hecht / Raph Worrick / Hillary Reynolds Band / Voices2
(Singer/Songwriter / Main Stage) 8:30pm, $3

Fri, 9/9 - Small Change
(Tom Waits Tribute / Main Stage) ‏7pm, $3

Sat, 9/10 - Jen Berger (Acoustic Lounge) 7:30pm, doors at 7pm

 

Sun, 9/11 - Zack duPont's "Let's Make A Record" Sessions featuring Nuda Veritas and Paper Castles
(Singer/Songwriter / Acoustic Lounge) 7pm, $3

Mon, 9/12 - Mildred Moody's Full Moon Masquerade featuring TBA
(Main Stage) 10pm, $5

Wed, 9/14 - Too Tight Trio with Kip Meaker
(Blues Rock / Main Stage) 7pm, $5

Fri, 9/16 - Triage
(Jazz / Main Stage) 7pm, $3

Fri, 9/16 - Red Hot Juba
(Hot Countrified Jazz and Blues / Main Stage) 9pm, $5

 

Thursday, July 28, 2011

Daaaaa-a-ay-trotter!

This just in from the lads at Angioplasty Media and GPN's Matt Burr, Daytrotter's Barnstormer series is coming to Vermont. Specifically, the Old Lantern in Charlotte on Sunday August 28.

For the unfamiliar, Barnstormer is like a mobile mini-festival curated by music site Daytrotter that, as its name implies, storms through barns — or in our case, barn-like structures — in random locales around the country, bringing buckets of indie rock cheer where e'er they roam. The VT date features some seriously rad acts, including White Rabbits, Deer Tick (uh-mazing website, BTW), We Are Augustines, Blood Orange and Doug Paisley (no relation to country star Brad Paisley … I think). Ticket info is right here.

Here's a link to a sneak peek clip from Daytrotter that should give you a bit more of an idea what we're in for.

And here is a vid from White Rabbits:

 

  And one from Blood Orange, just cuz.

Blood Orange - Sutphin Boulevard from Blood Orange on Vimeo.

 

 

Wednesday, July 13, 2011

Holy Shit! A Solid State Post!?!

Yeah, yeah. I know. It's been a while. I could make excuses for the dearth of posts this past month. I could offer sincere regrets, guarantees it will never happen again, solemn vows to be a more vigilant blurbsmith. But we both know such promises would, while well-intentioned, ring hollow, much like Hank Moody apologizing to his eternally wounded and increasingly jaded daughter, Becca, for the thousandth time: sincerely remorseful, yet fully aware — as she is — that he will inevitably fuck up again, most likely in boozy and spectacular fashion. (Yes, I've been on a "Californication" kick lately.)

Anyway, in the interest of playing catchup/stopping the bleeding/not doing other work, I thought we'd bust out an old fashioned smattering of randomness to get us relatively up to date. Here goes.

- This just in from Higher Ground: LoCash Cowboys have cancelled their appearance at the club scheduled for this Sunday. Figures, the one time I throw airbrushed pop-country a rhinestone-studded bone, I jinx the show. My bad.

- Wanna see some naked musicians? Local videographer Matt Day, on the heels of a successful opening at the BCA Center last month, finally has an online home for his Naked Musicians video project, nakedmusicians.com.  It's an interesting project, showcasing (mostly) local tunesmiths playing (clothed) in casual surroundings. It's also very well done. Plus, bonus points to Day for the lurid website title, which will undoubtedly draw a bazilion extra hits from pervy Googlers. Well played! Anyway, here's a vid from the project featuring Paper Castles.

naked musicians - Paper Castles from Matt Day on Vimeo.

- Any Amerpunkgrassrockjazzicana fans in the house? Go see the Defibulators at Nectar's on Thursday. Trust me.

- Remember back in February of 2010, when Rapper Big Pooh and his crew nearly died on I-89 when their van flipped en route to a show at Club Metronome? No? Well, they did. Not only that, they still played the gig. Anyway, it seems Pooh's group, Little Brother, recently broke up under some unfortunate and convoluted circumstances, as detailed in this excellent article in North Carolina's Independent Weekly by Grayson Currin, which leads with a description of the accident outside Randolph. (Full disclosure: this story is up for an AAN award this year, which is sort of like the Oscars for alt-weekly journalism. A story I wrote is actually nominated in the same category. But were I a betting man, my money would be on Currin. This is a prime example of arts-related alt-journalism at its best.)  

- I was on vacation when this was announced, but I couldn't be happier about Gillian Welch coming to the Flynn in October. As an aside, Welch's Time (the Revelator) remains the only album my dad has ever borrowed from me and never returned. I don't blame him. Tix go on sale Friday.

- Conan O'Brien gave James Kochalka some love recently.

- Burlington's e-sk (Slanted Black Records) was recently featured on Beatport.

- And last but not least, BURNTmd's track "Smuggler's Notch," featuring Keith Murray was just named a "Banger" by noted hip-hop rag XXL Magazine. I believe that's a good thing … (Seriously though, congrats, B)

 

 

Tuesday, May 24, 2011

So Very Special

I'm usually not much for reality TV unless it involves Padma Lakshmi, but this is kinda cool. Or horrifying, depending on how you feel about Radiohead.

It seems a UVM pre-med student, Devon Barley — who is also the music director of UVM a cappella group the TopCats, of which I was a member, many years ago — is doing quite well on NBC's latest Star Search ripoff, the Voice. For the unfamiliar, the show, hosted by Carson Daly, is a reimagining of a Dutch TV show of the same name, in which aspiring pop singers compete for the right to be on American Idol. Or maybe to win a ton of money and a record deal. I can never remember.

The contestants are judged by a panel of pop stars, including Cee-Lo Green, Blake Shelton, Christina Aguilera and Maroon 5's Adam Levine. In tonight's episode (NBC, 10 p.m.), Barley squares off against another hopeful — on a stage that vaguely resembles a boxing ring, no less — to move on to the next round. This particular contest seems loosely based on the rap battle concept, with contestants alternating verses of a song. Except that instead of freeestyling, they tackle a poppy karaoke rendition of the radio edit version of Radiohead's "Creep." (video below) Thom Yorke must be rolling in his grave.

All kidding aside, congrats on your success so far, Devon. And best of luck tonight. 

 

Tuesday, April 26, 2011

Northern Lights

You gotta hand it to Grace Potter and her merry band of Nocturnals, this is pretty friggin' cool.

Yesterday morning, Higher Ground announced the lineup for this summer's Lake Champlain Maritime Festival, the annual nautically themed bash on Burlington's waterfront that GPN have traditionally played as a homecoming gig after a summer of touring the country. But this year, rather than blow into town, play a set or two and skeedaddle, they've curated an entire weekend-long festival-within-a-festival, dubbed "Grand Point North" — GPN, get it? And while the band is pulling in some serious marquee talent, the bulk of weekend will have a distinctly local flavor. Check the lineup:

Taj Mahal Trio, Deva Mahal, Fitz & the Tantrums, the Wood Brothers, Anaïs Mitchell & the Hadestown Orchestra (VT), Jessica Lea Mayfield, Hoots & HellmouthChamberlin (VT), Barbacoa (VT), Parmaga (VT), the Eames Brothers Band (VT), Lendway (VT), Maryse Smith & the Rosesmiths (VT) and Split Tongue Crow (VT)

Color me impressed. 

The fest runs August 13 and 14, with GPN headlining both nights. I'm told they'll split the two evenings roughly along genre lines, with the rootsier acts dominating one night and the louder, more indie flavored bands the other. Tickets go on sale this Friday.   

 

Wednesday, April 13, 2011

Bonerama! (Or, What to do With Those Antsy Jazz Hands)

Top o' the afternoon, Solid State.

The fine folks from the Burlington Discover Jazz Festival held their annual press conference this afternoon to thank their long list of sponsors, ply the media with ice cream and give Bob Kiss something to talk about that doesn't involve Burlington Telecom. Oh, and also to announce the bulk of this year's lineup, which, while maybe not as top-heavy with monster marquee acts as in recent years, appears solid from top to bottom, including some undercard acts that could well steal the fest.

The big names likely need little introduction: Herbie Hancock, Bela Fleck and the Orginal Flecktones, Poncho Sanchez, aaaaaaaand … muthaflippin' viperHouse, who will follow Belizbeha's lead from last year's fest and get the band back together to relive some Queen City glory days. Rad. Trombone rockers Bonerama (pictured) and the Joshua Panda Band open that show at the Waterfront Groove Tent on Thursday, June 9.

Bonerama Also at the top of the docket, Bitches Brew Revisited, an all-star tribute to Miles Davis' groundbreaking 1970 record, Bitches Brew. The band features Vernon Reid, Graham Haynes, Marco Benevento and DJ Logic, among some other choice heavy hitters. Local improv jazz outfit — and a personal favorite — YoUSAy Placate open the Flynn MainStage show, which opens the entire fest on Friday June 3. The BDJF is also launching a contest inviting local artists to reimagine the cover art from Davis' landmark album. For more details on that, visit the BDJF site.

The BDJF always does well giving women in jazz their due. But, intentional or not, it seems there is an increased focus on lady songbirds this year, highlighted by a double bill at the FlynnSpace featuring vocalists Jay Clayton and Sheila Jordan on Tuesday, June 7. Other choice acts include vocalist Catherine Russell (6/8, FlynnSpace), ecelectic electro-acoustic outfit the Myra Melford Be Bread Sextet (6/9, FlynnSpace) and a MainStage double bill that will see renowned vocalist Roberta Gambarini share the stage with the Roy Hargrove Quintet on Saturday, June 11.

There's obviously much more to talk about, and in the coming weeks, we surely will. Most of the lineup and schedule info is up on the BDJF site. But there are still a few shows that have yet to be announced and should be made public within the next week or so. Stay tuned. 

 

 

Friday, April 08, 2011

2-Hour Contest: Starfucker

Wanna see Starfucker? I've got two tickets to give away to tonight's show at the Higher Ground Showcase Lounge. To win, just tell me why you think you deserve to go in the comments section. Best answer, as judged by a panel of … well, me, wins. Be sure to leave your real name and email addy so I can contact you/have the band's management put you on the list. Contest closes at 2 p.m. Aaaaaand go!

 

 

Wednesday, March 30, 2011

Rejected Headlines: Philip Glass

Writing snappy headlines is hard work. No, really. It is. Choosing a handful of words that both grab the reader's attention and impart some clue to what a story is about can be an exercise in madness. And especially in a pun-friendly environment like 7D, there is a fine line between clever and precious.

This week's edition features a story I wrote about composer Philip Glass, an enigmatic and intimidating figure if ever there was one. Given his stature, his body of work and the general direction and tone of our interview, deciding upon a headline that worked was especially challenging. There was a lot of brainstorming involved. And a lot of bad ideas. What follows are some of the best — by which I of course mean the worst. Feel free to add your own in the comments. 

- "The Imaginarium of Dr. Glass"

- "Art of Glass"

- "Breaking Glass"

- "Blowing Glass"

- "Wait … Philip Glass Scored Candyman 2?"

- "Shards of Glass"

- "A Brief Interview with Philip-fucking-Glass"

- "Minimalism: High Art, or Intellectual Masturbation?" 

- "The Glass Menagerie"

- "Minimalism: … "

- "Philip Glass: the Polka Years"

 

 

Thursday, March 10, 2011

Rock Madness

The union of music and sports is often imperfect. And in some cases, it is downright ugly. (See: Every Super Bowl halftime show ever, any NBA player turned rapper, and every time I've so much as whispered "Red Sox" on this very blog.)

Part of the issue is that the fundamental cores of each pursuit are diametrically opposed. On a large scale, yes, they are both essentially forms of entertainment. But music is — ideally, at least — rooted in some degree of artistic expression, of intellectual or emotional creation. Conversely, sports are designed around competition, proving physical superiority at the expense of an opponent. 

Combined with a host of other social and cultural roadblocks, meshing sports and music presents a unique, and often insurmountable challenge. Aside from montages in sports movies and the occasional battle of the bands, they just don't fit. But that doesn't mean it's not fun to try.

With March Madness soon to get under way, ESPN Radio host Colin Cowherd has applied the college basketball tourney's bracket system to rock and roll, in an attempt to decide just who is the greatest rock band of all time. It's totally silly. However, while not without flaws, it's actually pretty entertaining.

For the non-sports inclined, here's the gist. 64 prominent bands, roughly spanning the history of rock, are separated into four groups — or, in NCAA tourney lingo, "regions." The bands in each grouping are ranked, 1-16, and then pitted against one another, highest seeds vs. lowest seeds. Winners are determined by fan voting, with the victorious groups moving on to the second round, then a "Sweet 16," "Elite 8," "Final 4" (consisting of the overall winners from each region) and eventually, a championship match.

The highest seeds are rock icons — think the Beatles, the Stones, etc. The mid-to-lower seeds are well known, commerically successful bands that, while perhaps not legendary, have (mostly) left some kind of significant imprint on popular music over the last 50 years. Particularly given the target audience — sports fans first, rock fans second — ESPN did a decent job of selecting and ranking bands. I would have likely come up with a slightly different group. (311 and Nickelback made the tourney and the Beach Boys didn't? U2 as a 1-seed? Seriously?) But whatever. Its close enough for jazz. Or for rock on a sports site.

The matchups between top seeds and bottom seeds are pretty much obvious blowouts — the Stones vs. Blink 182, Zep vs. Creed, etc. Where things get interesting are the middle brackets. Just like in the real tournament, the best chances for upsets are found in the 5-12, 6-11, 7-10 range, where the gap in talent, or at least rock iconography is narrower. Here we find some interesting hypothetical debates. For instance:

Seattle regional: 8-seed Motley Crue vs. 9-seed Weezer.

Based solely on personal taste, I'd vote Weezer 99 out of 100 times — the one exception being if I'm drunk at a bowling alley. But taking their careers as a whole into account, the Crue might actually have an edge. Weezer made two-and-half great albums, and a slew of dreck since. But do two transcendant records (The Blue Album, Pinkerton) beat the Crue's more consistent, but never particularly "great" output? Hard to say. Ultimately, it comes down to which is less wussy: Buddy Holly glasses and cardigans vs. feathered hair and tights. 

London regional: 6-seed Red Hot Chili Peppers vs. 11-seed Black Sabbath

On the surface, it looks like someone should be shot, or at least fired for this seeding. Boil it down, and we're essentially talking Ozzy (OK, and Ronnie James Dio) vs. Anthony Kiedis. It's Ozzy and Dio, and it's not close. But again, taking the scope of each band's career into account, the Chili Peppers are still relevant — at least where modern commerical rock is concerned — and have been through three decades. And it would be a mistake to overlook the contributions of Flea here. Meanwhile, Ozzy is making 4G commericals with Justin Bieber. Still, we're talking about Sabbath, one of the most important metal bands in history. This game is reasonably close in the first half. Then Sabbath pulls away in the second when Ozzy alley-oops Kiedis' severed head on a nice feed from Geezer Butler.

Cleveland regional: 6-seed Bob Marley & the Wailers vs. 11-seed the Beastie Boys 

Probably my favorite matchup, and one I really struggled with. But it calls into question how we define greatness. Marley is an icon, arguably more synonymous with his genre than any other artist, in any genre in history. On the other hand, I personally just prefer listening to the Beastie Boys. It may sound like blasphemy, but you can make a case that the quality and, perhaps more importantly, the sheer volume of the Beasties' contributions to pop music cumulatively approach those of Marley. At the very least, it isn't as lopsided a match as it might initially seem. Still, much like you wouldn't bet against Jordan or Bird in a big game, you gotta go with the legend. That's Marley.

Cleveland regional: 5-seed Phish vs. 10-seed the Ramones 

Another interesting debate, especially 'round here. I voted for the Ramones, but it wasn't as easy a decision as regular readers probably assume. Phish, no question, are a historically great band. But then, so are the Ramones. The tie-breaker for me wasn't personal preference, but whose historical significance was greater. Phish elevated the game, but will always be viewed as Clyde Drexler to the Dead's Jordan. The Ramones changed the game forever, altering the landscape of rock in way Phish, wile probably more "successful," never did. To hack the basketball metaphor even further, the Ramones would be like Dr. J, a revolutionary player who changed people's perceptions of how basketball could be played. Plus, in a sporting situation, I'll take aggressive vices like booze, coke and cigarettes over weed and hallucinogens any day.

I could go on with stuff for hours. But maybe I should cut to the chase and let y'all decide for yourselves. Here's the link. Feel free to debate in the comments. And go Def Leppard!

 

 

Wednesday, February 02, 2011

You're the Best Around. Or, Smokin' Poll

Nothing rewards the tireless labors of love put forth by struggling musicians like subjecting their deeply personal art to the rigors of competition. Or in other words, the reader poll. For how else would one divine which band is "the best" in any given field from among the flood of musicians vying for our auditory headspace? Aside from, you know, actually listening to them, of course. But I digress.

Our friends over at the Deli New England have just such a reader poll on their website, designed to figger out, once-and-for-all-or-at-least-until-the-next-poll, just who, exactly, is the "Best Emerging New England Artist." The poll, which closes today, comprises a lengthy list of Yankee bands both relatively unknown and of wider acclaim. It also includes a fair number of VT acts: Villanelles, Rough Francis, Blue Button, Spirit Animal and Butterfly Starpower, among others.

Reader polls, generally speaking, are harmless enough. They don't really mean all that much beyond the victorious band being able to pad their press sheet with some snappy accolade. It's like high school superlatives for grownups. If Blue Button or Villanelles aren't named "Most Likely to Succeed" or "Most Likely to Marry Their High School Sweetheart," I doubt Jason Cooley or Tristan Baribeau will lose much sleep over it. (Eric Olsen on the other hand …)

My only real problem with this kind of electoral folly is that it tends to reflect less how a band is perceived by the local listening public at large than said band's campaigning prowess. For example, the leading vote-getters of DeliNE's current poll are Brothers McCann, a Boston-based roots-pop outfit with VT ties (they'll be at Red Square this Friday), and the Wandas, also Boston-based. As of this writing, the groups have tallied 1044 and 940 votes, respectively. Or, a whopping 46% of the total votes cast. The next closest band is Wally Sickert and the Army of Broken Toys (great name), followed closely by our own Blue Button, with 449 (10%) and 395 (9%) votes, respectively.

Are the McCanns and Wandas really that much more beloved in New England than the other nominated acts? Probably not. But they might be savvier than most. Both groups have links to the voting site prominently displayed on their web pages and have pimped the contest via other social media outlets (Facebook, Twitter, etc.), making it easier for their fans to stuff the ballot box. In other words, they were more effective at motivating their bases than their peers. I don't mean to take anything away from whichever band wins — they're both polished acts, and a crafty marketing sense is important for working bands — but it seems a rather hollow victory when the results feel predicated less on sheer musical ability than PR acumen.  

Wednesday, January 12, 2011

Bring it, Cape Cod: The Black Keys vs. Vampire Weekend

I have been waiting at least two years for someone to kick the crap out of Vampire Weekend. Finally, the Black Keys have obliged.

It's Grammy season. If you were unaware of this fact, it's most likely because the brain trust that bestows the awards, the National Academy of Recording Arts and Sciences, has grown comically irrelevant and out of touch. Still, someone has to choose who gets those shiny little gramophones each year. Might as well be someone like Stephen Colbert, right?

Last night, the host of "The Colbert Report" — and bonafide Grammy award winner — attempted to designate a champ for the "Best Alternative Music Album." Outlining the category's parameters, Colbert explained, "For the squares out there, 'alternative' refers to the under-the-radar, independent music that edgy, anti-establishment types can buy at Starbucks." 

Colbert immediately dispatched with three of the five nominees: Band of Horses (Colbert prefers a band of humans); Broken Bells ("Get back to me when you fix your bells"); and Arcade Fire ("Those guys were on 'The Daily Show.' Fuck 'em.") That left two contestants, Vampire Weekend and the Black Keys.

Colbert suggested that a Grammy award is really more a tip of the hat for commercial success than a celebration of artistic achievement. But given slipping album sales in the midst of the industry's general decline, it's becoming trickier and trickier to designate any one one band's music as "the best" based solely on units moved. Colbert's solution: grant Grammys based on literal "commercial" success.

What followed was a "sell-out off" between the Black Keys and Vampire Weekend to determine which band had the best placement in TV commercials in 2010. It's hilarious. It's biting satire. And it ends with a good, old-fashioned street fight. Enjoy.

 

The Colbert Report Mon - Thurs 11:30pm / 10:30c
MeTunes - Grammy Vote - Dan Auerbach, Patrick Carney & Ezra Koenig<a>
www.colbertnation.com
Colbert Report Full Episodes Political Humor & Satire Blog</a> Video Archive

 

Monday, January 03, 2011

A Few of My Favorite Things 2010: Randomness!

Happy 2011, Solid State! I trust everyone had a safe and fun New Year's Eve.

In the hubbub leading up to the last day of the year, I plumb ran out of time to finish off my 2010 ramblings last week. (2011 Resolution #1: find a way to squeeze a few more hours out of each day. There's gotta be a way.) So before we kick 2011 into high gear, I thought I'd take the opportunity to pass along a few more random favorites from the year that was. Only this time, we're expanding our gaze beyond music and looking at some stuff beyond the typical Solid State bailiwick. So without further ado, randomness!

Standup Comedy: Mike Birbiglia

You've perhaps heard Birbiglia as a semi-regular contributor on Ira Glass' radio show/podcast, "This American Life." That's certainly how I was first introduced. But over the last year or so, he's quite possibly become my favorite standup comic. His latest album, My Secret Public Journal — he also writes a blog of the same name — was easily among my most listened to albums in 2010. Not just comedy albums, mind you. Albums, period. I gave my sister his new book, "Sleepwalk With Me," for Christmas, and then read the whole thing, cover to cover on Christmas Day. More storyteller than jokester or satirist, Birbiglia has a rare gift for exposing the subtle absurdities of his own life in a way that connects almost universally — or at least to awkward, self-deprecating white guys from New England … ahem. Anyway, dude is hilarious. Here's a clip from his most recent comedy special. And by the way, he's performing in Montreal this weekend.

    

Movies: Scott Pilgrim vs. the World

Is it just me, or was 2010 kind of weak year for film? There were very few flicks that really stood out to me over the last 12 months — though I have yet to see the Coen Brothers' take on "True Grit." I have high hopes for that one. 

"Scott Pilgrim Vs. the World" seemed to fly under most moviegoers' radars, which is a shame. Witty, creative and a must for anyone who grew up playing video games in the 1980s and 1990s, it was easily my favorite flick of 2010. Maybe not the "best," per se. But I loved it.

The film centers on Pilgrim (Michael Cera playing, um, basically the same character Michael Cera always plays), a geeky dude in a bad band who, in the aftermath of a bad breakup — and while stringing a long a high school girlfriend, no less — falls in love with the mysterious Ramona Powers. The thing is, to win Ramona's heart, he must defeat "The League of Evil Exes," a motley collection of Ramona's past seven lovers. In other words, it's kinda like dating in Burlington … hiyo! The battle scenes between Pilgrim and the increasingly bizarre Exes are outlandishly inventive. (The showdown versus Ramona's bass-playing vegan ex-boyfriend Todd is especially satisfying.) And the soundtrack is pretty killer too.

 

Podcasts: The BS Report

I've made no secret of my adoration for ESPN columnist Bill Simmons in these pages. But in 2010, Simmons seriously upped his game. He has always been an entertaining writer and host, but this year he seemed to take a step beyond humorous sports columnist to rising media icon. He had a NYT bestseller ("The Book of Basketball," a mammoth tome, but a great read and surprisingly well argued), produced possibly the most interesting and ambitious series of sports documentaries in history ("30 for 30") and continued churning out great columns week in and week out. 

But his podcast, the BS Report, was really where Simmons shined. The mix of sports musings and cultural analysis was pitch perfect all year long, and his lineup of guests expanded from the usual parade of sports-obsessed buddies (Jack-O, Joe House) and sportswriters (Dan LeBetard, Mike Lombardi) to include some fascinating folks from film, music and media (Chuck Klosterman, Jon Hamm, Seth Myers). Don't let the fact that ESPN cuts his paycheck fool you. There is more to the BS Report than just sports. (OK, there's still a lot of sports. But it's wickedly entertaining, I promise.) When I grow up, I want to be Bill Simmons.

Books: Anything by Tom Franklin

2010 was the year I discovered Tom Franklin. I devoured two of his early novels — the gritty "Hell at the Breech," and the astounding, impossibly violent "Smonk" — before turning my attention to a beautiful collection of short stories, "Poachers," over my recent winter break. Fans of local author Creston Lea would particularly enjoy the last. The Southerner writes in a vein very similar to Lea's "Northern Gothic" style. Franklin possess a keen eye for the fragility and, in many cases, futility of subject's lives, painting their portraits with equal measures of kindred empathy and cold prejudice. His latest, "Crooked Letter, Crooked Letter," sits perched atop the stack on my nightstand for 2011. 

Wednesday, December 29, 2010

A Few of My Favorite Things 2010: Sad Songs

I love sad songs. Whether or not I am, in fact, sad in that moment, melancholy music has always struck a chord with me. Most of my all-time favorite records are late night, punch drunk confessionals: Frank Sinatra's In the Wee Small Hours, Tom Waits' Heart of Saturday Night, anything by Otis Redding and pretty much the entirety of country music, etc. There is a certain poetic beauty in sadness, which may be why sad songs usually resonate with me as much as, if not more than their more upbeat counterparts. Or maybe I'm just a sucker for a pretty melody.

This year there were a number of great, mellow, melancholy additions to my stacks. To name but a few: chippy bedroom pop from Belle & Sebastian on Write About Love, swooning art folk on The Head and the Heart's self-titled debut, and an unflinching masterpiece from songwriter Joe Pug, Messenger.

Of course, there are many different types of sad songs. You've got your torch song, your break up song, the fuck you song, the lonely sap song, the clinically depressed song, and so on. Pop music is virtually overloaded with sad sack sentiment. To quote Rob Gordon in High Fidelity, "What came first, the music or the misery? … Did I listen to pop music because I was miserable? Or was I miserable because I listened to pop music?" Fair questions.

The thing is, not all sad songs are created equally. Because pop is over-saturated by songwriters who seem to think theirs was the first broken heart, the annals of rock and roll are littered with overwrought cliché, terrible, cloying songs that artlessly gnaw at the heartstrings rather than gently tug or assuage. Depressed? Write a song about it! It's a tack followed by far too many marginally talented artists. But who can blame them? To quote Def Leppard, "Love bites."

So what makes a great sad song? I doubt there's an easy answer, if one exists at all. And really, it is entirely subjective. What hits to your core might turn mine queasy. What makes me swoon could very well make you wretch. To paraphrase an old chestnut, beauty is in the ear of the beholder. 

For me, it's usually the melody that hooks first. Throw in a clever turn of phrase or two and I'm yours for the night. Sing it with soul, and my oh my, it could be a lasting love. Then again, sometimes it's none of those things. Sometimes, certain songs or albums just catch you when they're supposed to. Sometimes it's just fate. Two such artists caught me that way this year. Some way, somehow, they entered my life at the precise moment I needed them most.

The first was songwriter Sean Hayes. His 2010 album, Run Wolves Run, is a gorgeously crafted, unchained treatise on love and life, and among my favorites this year. But that album wasn't what first turned me on to Hayes. Rather, it was one of his older songs, "Fucked Me Right Up," that, well … you know. There is a raw, visceral hurt in Hayes' vulnerable delivery that deepens his otherwise simplistic lyrics. The song barely has two verses, but by the time he bids us "good bye" again and again at the song's conclusion, you feel what he feels in no uncertain terms. It's chilling.

Here's a live version of the song from a house concert. It's a little rough around the edges, which I kind of prefer. The ragged quality suits the song. But if you'd like to hear the cleaner album version, click here.

 

This next artist writes great sad songs too, but in an entirely different way, which you could likely surmise simply from his name, Sad Brad Smith. Some might be familiar with Smith from his single, "Help Yourself," which was featured in the recent movie, Up in the Air. I've actually never seen that flick, or heard the song. But Smith's full-length debut, Love is Not What You Need, has rarely left my iPod since it came out this fall.

Smith's approach to melancholy is tongue-in-cheek whimsy. He revels in wallowing. He writes clever, heartfelt songs that both tease and admire the peculiar conundrum of the superficially depressed. Ever have that friend who is only truly happy when he or she is unhappy? Love is that friend's personal soundtrack. Or maybe the record Charlie Brown would have written if he grew up to be a singer-songwriter. 

Here is live clip of Smith performing a song from Love, a typically overly underwrought charmer called "I'm So Sad." Enjoy. Or, um … don't, depending. And tune in tomorrow when we cheer the fuck up.

 

 

Tuesday, December 28, 2010

A Few of My Favorite Things 2010: Spoon

Today's installment of my personal 2010 "Best Of" non-local music series features Spoon, a band that I doubt regular readers — both of them — will be surprised to find planted firmly among my garden of year-end treats. For one thing, they're a, ahem, perennial favorite, and for my meager money, the best rock band working in the US today. Yes, really. For another, I was practically orgasmic when their 2010 album, Transference, came out early this year. And for yet another, when I grow up, I want to be Britt Daniel.

In some ways, Transference delved even deeper into the "less-is-more" idea explored on their previous album Ga Ga Ga Ga Ga. The songs here strip superficial pop constructs like paint thinner. While so much of indie-rock moves toward high-fructose ear candy and uses glo-fi glitter to mask inferior chops and writing, Spoon continue to chip away at rock's facade, exposing the raw, bloodied nerve endings at the core of their music. Or something.

I had the chance to catch Spoon live in Boston earlier this year. As I wrote at the time, it was the best show I never saw. Unfortunately, due to my poor vantage point on the Mezzanine level at the House of Blues, I had to watch the show on a projection screen, which was of course just a split second behind the live sound. Frustrating. Eventually, my compatriots and I resigned ourselves to hanging by a satellite bar, enjoying the concert armed with but our ears and few rounds of Narragansett tall boys — that's PBR, southern New England style. Ask your dad.

Even without the benefit of good — or any — sight lines, it was among my favorite concerts of the year. The sound at HOB is unparalleled. I've rarely ever heard sound mixed so well or presented so clearly. And Spoon are as dynamic and interesting live as they are on record, which is truly saying something. If you have the chance to see them, pay special attention to bassist Rob Pope and drummer Jim Eno. As remarkable as Daniel's songwriting is, Spoon would not be the same without their inventive interplay.

Anyway, here are a couple of Spoon clips. The first is the official Merge  Records video for "Written in Reverse," from Transference. The second is Daniel performing "I Summon You"  from Gimme Fiction, solo acoustic in the back of a taxi cab. And by the way, Spoon has a collection of outtakes from 2008-2009 called Bonus Tracks — clever, no? — available for download on their website. It ain't free, but it's cheap and certainly interesting as a companion to their work over the last few years. Enjoy.

 

 

 

 

 

Monday, December 27, 2010

A Few of My Favorite Things 2010: Jeremy Messersmith

A belated happy holidays, Solid State. I trust everyone is safe and warm somewhere as the weather howls past my picture window. Baby, it's cold outside. Anyway …

With Christmas unwrapped and the new year just around the corner, 'tis the season for music pundits such as myself to don their robes of self-importance and enlighten the masses with picks for the best music they've heard in the year that was.

[Little known secret: said robes are handed out when you accept any music crit job and kind of look like Roman philosopher's robes, but with punk rock patches sloppily hand-sewn about them. True story.]

With regard to the best local music of 2010, this Wednesday's paper will offer a glimpse into my thoughts and ramblings, as well as my picks for the top ten VT-made albums of the year. But man cannot live on localvore tunage alone. So this week, I'll be serving up some of the music that made me swoon, laugh, cry, rock the eff out or otherwise just got a kick out of in the past 12 months. Most of it was released this year. Some of it wasn't, but managed to find its way to me in 2010. You've probably heard of much of it, might not have heard of some of it, but I'm hoping you'll find something in the mix you'll enjoy either way.

First up, Minneapolis-based songwriter Jeremy Messersmith. He kinda looks like Buddy Holly (ooh-wee-ooh!), sings a bit like Paul Simon, and has a gift for irresistible pop hooks that will leave you whistling for days. Or in my case, most of the year.

My much cooler-than-me kid sister, Ari, actually knows the guy and introduced me to his music last year. But I didn't really pay attention to him until he released his 2010 album, The Reluctant Graveyard, this spring. That thing never left my iPod, was a staple on most of my summer mixes and served me well through an unusual fall. It's the kind of record that sneaks up on you, even if you love it immediately as I did. Nearly every time I put it on, I discover something new within Messersmith's deceptively simple pop that gives me a heightened appreciation for his work.

Below are videos for two of my favorite cuts from that record. The first is a sweetly chilling ballad, "A Girl, a Boy, and a Graveyard," that feels appropriate given this bleak midwinter day. The second is the album's lead track, "Lazybones," featuring what may be my favorite single hook of the year. I triple dog dare you to get its jangly genius out of your head before 2011. And if you can't, The Reluctant Graveyard and all the rest of Messersmith's music is available through his website as pay-what-you-want downloads.

  

 

Wednesday, December 08, 2010

John Lennon and … Howard Cosell?

Maybe you've heard, but December 8 marks the thirtieth anniversary of the day John Lennon was murdered. Obviously, there are tributes almost anywhere you look today — including a Lennon tribute night at Parima this evening with Aaron Flinn, Joshua Glass and Scott Mangan, FYI. And with good reason. You'd be hard pressed to name any single artist whose impact on the landscape of pop music and culture was as profound.

But few folks remember that news of Lennon's death was first broken not by a news icon such as Walter Cronkite or Ted Koppel, but by, of all people, legendary sportscaster Howard Cosell during a Monday Night Football broadcast. (I don't remember it either. I was two at the time.) Cosell learned of the news at the end of a game between the New England Patriots and Miami Dolphins. And were it left up to him, he might not have passed it along as the game was tied with 13 seconds remaining setting the stage for a potential winning field goal. Fortunately, a younger, hipper Frank Gifford understood the gravity of the situation and persuaded Cosell otherwise.

Below is a behind the scenes clip from ESPN in which Gifford convinces Cosell that Lennon's death is kind of a big deal. And here is a link to Cosell's delivery of the news.

 

 

 

 

Wednesday, December 01, 2010

That Thing, That Thing

This just in from the good folks at Higher Ground: In celebration of the club's 12th anniversary, they've just announced the incomparable Lauryn Hill will play the Ballroom on Wednesday, December 15. And according to HG's Nick Vaden, she's bringing a 10-piece band. Dang. Tickets go on sale this Friday. And at $60 a pop, here's hoping there's Fugee or two involved … ahem.

In the meantime, here's a clip from Hill's "MTV Unplugged" appearance in 2002.

 

Friday, November 19, 2010

Rubblemania

I doubt you've heard of them, but apparently there's this new band called "the Beatles" that Steve Jobs just discovered and is pimping like crazy all over his flash-in-the-pan website iTunes. Me? I don't really get it, what with all that moppy hair and the funny accents and that vulgar sound. Can't imagine they'll have much of a future. Besides, this rock and roll thing is just a fad. Gimme some Mitch Miller any day. Now there's music.

Anyway, apparently the kids dig it. For example, kids like Rubblebucket, whose cover of "Michelle" was just named one of the 50 best Beatles covers of all time by Paste magazine. Check it out …

 

Michelle



 

 

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