Monday, November 7, 2016

Sound on Sound Festival 2016, Day 2

If you've been following Austin music news over the past year, you probably heard about the messy breakup between the people behind local booking company Transmission Events and the real estate company that backed them, Stratus Properties. The short version is that almost all the main people of Transmission left and started a new company, Margin Walker, that is carrying on the best parts of Transmission's legacy. (The long version can be read here, here, and here.) Part of the fallout is that the delightful Fun Fun Fun Fest was also left with Stratus. As should be obvious by now, it didn't happen, and it doesn't look like it will in the future. However, Margin Walker acted fast and put together a new festival with a similar look and feel under the name Sound on Sound. They managed to hold it the same weekend that FFFFest usually took place, but due to a non-compete clause they had to find a new venue. They stepped up the challenge, thought creatively, and chose Sherwood Forest, the home of the (semi-)local Renaissance faire. What might seem like an unconventional pairing actually worked out rather well.

Event: Sound on Sound Festival, Day 2
Venue: Sherwood Forest
Location: McDade, Texas
Date: 5 November 2016

In past years of going to Austin Psych Fest/Levitation, I've had some trouble with the shuttle system, but still never gave up on it. (I vastly prefer biking and mass transit to driving!) With this being the first year of SoS, I was a bit concerned that it might be another rough experience. However, it seemed like they were trying to make the shuttles a compelling option by guaranteeing departure times and selling cheap passes in advance. Although I got drenched in a downpour while riding my bike to the shuttle pick-up at Mohawk, the bus was timely and comfortable, which made it well worth it.

Since I was only going for one day, I decided to go all out and get there early. I was on the second shuttle and arrived just in time to see Moving Panoramas at the Dragon's Lair stage. I've seen them twice before (last year at a Fun Fun Fun Fest late night show and again earlier this year) and they only keep getting better. In the meantime, it appears that Rozie Castoe has been replaced on bass by Jolie Cota Flink, and a keyboardist/percussionist/vocalist has just been added to the lineup. Drummer Karen Skloss may have made a few slip-ups, but Flink delivered an improved low end, and the new keyboardist was a very welcome addition. Their inviting, guitar-based, dream pop sound was stronger than ever. This was their best performance that I've seen yet.

[Moving Panoramas.]

I'd seen some of the members of Hard Proof play live with Gary Clark, Jr., but I somehow hadn't yet managed to see them in their own right. I finally got to change that, and I was immediately taken by their funky vibes and high energy. The ten-piece group played an instrumental take on Afrobeat with three percussionists, baritone sax, tenor sax, trumpet, bass, and three guitarists, one of whom also played keyboards. The music was instantly danceable and yet intricate enough to keep your attention. I'll admit it was just a bit surreal to see my former landlord grab a mic and hype the crowd when he wasn't playing the saxophone, but it worked. That's Austin for you, I suppose!

[Hard Proof.]

At that point I took a break to wander the grounds. Having gone to the Kansas City Renaissance Festival for years as a child, it brought back a wave of nostalgia to walk through the oddly familiar environment. Some parts were closed up or roped off, but many were open and in some cases even inhabited by what seemed like typical Ren faire vendors. There were plenty of food trucks from Austin, but there were also a handful of rides and events that intermingled the Fun Fun Fun Fest traditions with Ren faire themes.

I couldn't resist a Freeto Burrito from the Vegan Yacht, and I took the opportunity to sit and watch some of Orthy's set at the Forest Stage while I ate. Instead of the bland EDM that I had feared they might perform, they opted for a compromise between organic and electronic approaches. However, even the energy of a decent live band couldn't make the middling electronica seem particularly inspired.

I returned back to the Dragon's Lair stage to see Wild Nothing, and indie rock band with (again!) touches of dream pop and shoegaze. Their bassist was solid and played a thick and grounding groove. The two guitarists occasionally engaged in some great interplay, but too often remained content with keeping it simple. The keyboardist did a good job adding layers on top of the rest, and the combination of all the above was usually rewarding. The vocals and songwriting were decent without being outstanding, but they had a good balance between rock energy and pop catchiness. At times I was even reminded of The Chameleons[Edit 2016.11.12: Their setlist can be found here.]

[Wild Nothing.]

While again wandering around the grounds with a friend, we ended up watching most of the set from Alex G. He and his band worked up a decent alt-rock vibe reminiscent of the 90s bedroom circuit. The sound was was appealing familiar in a weird way but upon closer inspection was fairly standard guitar stuff. A somewhat adolescent angle and occasional bursts of aimless, jarring aggression didn't help.

After another excursion for food and drinks, I settled back at the Dragon's Lair stage to wait for Deerhunter, who I'd actually seen before (albeit while distracted) at my first Fun Fun Fun Fest in 2013. Frontperson Bradford Cox seemed to be having trouble getting the monitor mix just right, but eventually gave up about fifteen minutes after their scheduled set time and finally started the show. The music was rock-oriented, mildly psychedelic, and hard to pin down. The band consistently put down a solid beat, and the musicianship was good, but I couldn't follow the arc of the songs. At one point, Cox claimed to live on the same street as Big Boi (who played next on the same stage), which for all I know could be true, as both live in Atlanta. He said he was recently hit by a car while walking to his house, which interrupted him while writing a song in his head. Shortly after starting the next song, something went wrong (or Cox intentionally sabotaged it) and he joked that it was just like getting hit by the car. I got a decidedly weird vibe from Cox, like he was being antagonistic. He mostly sang, but also played some guitar with enough skill to make me wonder why he didn't play more. Oddly, for their last song, the other guitarist sang the lead. Their setlist can be found here, although it is incomplete.

[Deerhunter.]

Night had fallen, and once more, my friend and I walked around the festival and enjoyed the atmosphere of stumbling through the woods in the dark. I think I'd originally intended on seeing Car Seat Headrest, but for some reason I forgot about that and didn't really watch anything for a spell. I ultimately returned once more to the Dragon's Lair stage to get a good spot for Beach House. They were half an hour late for unclear reasons. Their stage setup was very similar to when I saw them in April, but this time I couldn't get a good picture. I did get the setlist, though:

01. Wild
02. PPP
03. Silver Soul
04. Space Song
05. Elegy to the Void
06. Beyond Love
07. New Year
08. Master of None
09. Wishes
10. Take Care
11. Sparks
12. Myth
13. 10 Mile Stereo

Compared to their last Austin show, this performance felt rushed and truncated. They barely addressed the audience and hardly took a breath between most of the songs. I suppose they were trying to make the most of what time they had, but for the topmost-billed band of the festival, 70 minutes wasn't enough. They played a strong set, but I was a bit disappointed that nine of the thirteen songs were also played at the April show. I would have loved more variation. Nonetheless, "Master of None" was a delightful throwback, and the other unique songs of this set ("Wild", New Year", and "Take Care") were all a pleasure to hear. Since they hardly have a weak song in their whole discography, I can't actually complain about anything they might choose to play, but for the last night of their Depression Cherry/Thank Your Lucky Stars tour, I was hoping for a special treat.

Beach House's sweeping, spatial, dreamy music suited the cool evening in a rural field with a bright crescent moon and clouded sky. It was as easy as ever to get lost in, which made the length of the set all the more conspicuous. They again built up the guitar-oriented "Elegy to the Void" into a thick crescendo, and for their finale, they worked up "10 Mile Stereo" into a noisy, blissful jam. It was a great show, but I was left wishing for more.

It was getting late, but I'd made up my mind to stay for at least part of Purity Ring's set. Of course, they were a full hour late, so I only stayed for half an hour before I had to get on a shuttle back to Austin. As soon as they got going, I was drawn in by their visual performance. They opted to appear as just their core duo, with Corin Roddick behind an interactive lightpost/synth tower and Megan James walking the stage under a huge LED fixture. It was easy to be transfixed by the lightshow. However, I found the actual music to be only slightly above average. Unless Roddick had more hands than I could see, most of the instrumentation was prerecorded, and even James' voice was vocoded/autotuned in parts without an apparent performer. The artifice was alienating even as the display was captivating. Their setlist can be found here.

[Purity Ring.]

Final Thoughts: After all the drama of the Transmission Events/Margin Walker divorce, I'm glad that the new festival started strong. It clearly carried on the tradition of Fun Fun Fun Fest without being a mere change in name. They made the most of their semi-exiled environment and had fun with it. The food and drink selections were good, and the lineup was a good mix. And thankfully, once I did finally pack it in, the shuttle line was short and there were multiple buses ready, so it wasn't even all that long of a trip back to town. Although weather may have caused a mess the following day, this was a promising start to a new festival tradition.

Scores:
Moving Panoramas: B+
Hard Proof: B+
Orthy: C
Wild Nothing: B
Alex G: C-
Deerhunter: B
Beach House: A-
Purity Ring: B-

P.S. Thanks to Mustafa!

Monday, October 3, 2016

Andrew Bird - Live 2016.09.30 (ACL Late Night Show)

I didn't particularly want to buy a ticket to the festival on Saturday just to see Andrew Bird, whom I've seen three times before, but when he announced a late night show after the festival on Friday, I jumped on that train. However, because I stayed to the end of the festival on Friday to see Radiohead, by the time I made it to Stubb's, the openers had long since finished and Andrew Bird was at least a half-hour into his set.

Artist: Andrew Bird
Venue: Stubb's (outside)
Location: Austin, Texas
Date: 30 September 2016
Opening Acts: Sinkane, Lucy Dacus
Event: Austin City Limits 2016 Late Night Show

Setlist (incomplete):
Puma
Left Handed Kisses
Roma Fade
Three White Horses
The Naming of Things
Plasticities
Valleys of the Young
Pulaski at Night

Encore:
Give It Away [one mic]
My Sister's Tiny Hands [one mic; The Handsome Family cover]
Fake Palindromes


Unfortunately I can't speak to the openers, and I haven't been able to find Bird's complete setlist elsewhere, so I can only provide what I witnessed. I was immediately surprised that the band was neither Bird's longtime accompanists (drummer Martin Dosh, guitarist Jeremy Ylvisaker, bassist Mike Lewis) nor the crew from the last tour (bassist Alan Hampton, guitarist Tift Merritt, drummer Kevin O'Donnell, pedal steel player Eric Heywood). This time it was Ted Poor on drums, Steve Elliott on guitar, and a Luke whose last name I didn't catch on bass. (Apparently Hampton played on earlier dates of the tour.) While the band wasn't exceptional or experimental, they were really good and probably just a bit better than the last bunch.

I can make a decent guess as to what Bird played before I arrived based on the webcast of his festival appearance the next day and some his other recent setlists. It was probably several songs from the new album, Are You Serious, as well as a few classics like "Effigy" and "A Nervous Tic Motion of the Head to the Left". There may have been a surprise cover or two. But from what I did see, he played several of the best songs from the new album, a few couple of his best songs from recent releases ("Three White Horses", "Pulaski at Night"), and a couple of his best older songs ("The Naming of Things", "Plasticities", and even "Fake Palindromes"). It came off as a very well-curated set balancing his various strengths.

"Left Handed Kisses" is a great single from the new album, albeit with a few phrases that always seemed oddly unbalanced for a singer that loves to fill space with clever wordplay. Playing it live without Fiona Apple's excellent parts proved a challenge, and although I kind of wished Bird had managed to cajole one of his bandmates into singing her parts, he did a modest job of doing it all himself. "Puma", meanwhile, is an impressively catchy song about his wife's chemotherapy. "Valleys of the Young" is slightly ridiculous and maybe a little more directly personal than Bird is used to, but I can appreciate the depth with which he weighs the decision of having children.

"Three White Horses" was the highlight of Hands of Glory (2012), and the version they played on stage also incorporated elements of the more atmospheric "Beyond the Valley of the Three White Horses". It started slow and violin-driven, but then Elliott played a slide guitar solo before they suddenly picked up the pace and carried into a great rendition of the rest of the song. Bird has never one to be shy of having multiple versions of his best songs, which is also demonstrated by "Pulaski at Night". Originally the standout track from the otherwise instrumental I Want to See Pulaski at Night EP (2013), he released another (slightly inferior) version as just "Pulaski" on the deluxe edition of Are You Serious. The version they played live was a bit closer to the latter version, but yet it equaled the strength of the original.

Bird claims to have rarely played "The Naming of Things", which appears to be true, although it did appear on the Fake Conversations live EP given out for free to ticket buyers on the 2012 tour, and he played it when I saw him on that tour. It's one of his best songs, but he has a tendency to change the phrasing of it when performing it live, much like Lou Reed would. Bird is a much more talented singer than Reed, but it's still annoying to have the opportunity for singing along rendered practically impossible. On one hand, I like it when musicians can rearrange and reconfigure their songs live, but on the other, it can be alienating, especially when it is done to an artist's most well-known song, in this case "Fake Palindromes".

For the encore, Bird again reprised his one mic gimmick, although with the addition of the full drum kit. "Give It Away" is great song from Break It Yourself (2012), and "My Sister's Tiny Hands" is a typical example of the all-Handsome Family covers album, Things Are Great Here, Sort Of… (2014). While the album goes perhaps a bit too far, Bird has always done a good job of interpreting Handsome Family songs, and this song is no exception when presented in its own light. Both were well suited to the format.

I thoroughly enjoyed the part of the set I saw, so I wish I'd seen the full thing. The performance at the festival the following day was fairly similar, albeit condensed. For the shorter festival set, Bird dropped the one-mic section and focused mostly on uptempo, catchy numbers. However, he still managed to play a couple songs with lower-key, subtler sections ("Three White Horses" and "Pulaski at Night"). In both shows, he seemed to play to his proven strengths in the indie rock vein with limited crossover into the country/folk side of things. However, I'm still left with the impression that Bird is searching out new directions. His latest album is decidedly a return to indie rock after some brief diversions, but the directness of the lyrics is certainly a change. The album took a while to grow on me, but the live performance secured my impression that the new material stands up almost as well as his best work. I might still be waiting for a dramatic turn of events, but Bird is delivering satisfying music in the meantime.


Score:
Late night show: A-
Festival webcast: A-
Are You Serious: B+

Sunday, October 2, 2016

Austin City Limits Festival 2016, Weekend 1, Day 1

Event: Austin City Limits Festival 2016, Weekend 1, Day 1
Venue: Zilker Park
Location: Austin, Texas
Date: 30 September 2016

My fourth year! Much like last year, the lineup seemed a bit weak to me, but it still wasn't hard to find a day I wanted to see. Actually, there were a few of acts scattered across the weekend that interested me, but they were thinly spread out and I was unconvinced to go for more than a single day. Since I had to work most of the day and I got inside the festival grounds a bit later than I was hoping, I missed Chairlift and Bombino, but I've seen the latter twice before, and I caught the former on the webcast the next morning.

I wasn't particularly excited about any of the bands playing for a couple hours, so I just picked things that seemed like they had at least a slight chance of being good. I started with Foals, a British band that kept switching contexts between indie rock and hard rock. The indie rock parts were tolerable, particularly when they leaned in an 80s new wave direction, but the harder stuff was just bland heavy riffing and some jarring screaming. I wasn't very impressed by the instrumental performances at any point. They kept threatening to break into big solos, but instead they just kept riffing more. They were missing something in the ways of nuance.

From there I wandered over to St. Lucia on the Miller stage while eating a burrito. I was totally unimpressed by their generic electronica, and the sound from the Cirrus Logic stage was fiercely interfering. I gave up and ended up going to that stage for Cold War Kids, who weren't much better and were also suffering from the cross-park noise. (Seriously, there were three stages all facing into the same section of crowd.) Cold War Kids at least had a decent piano rock vibe, but they came off as fairly generic pop rock. A few hints of Erasure slipped through, but filtered through acoustic piano and electric guitar. It struck me that when they stuck to keyboards, they had something going for them, but every time they'd switch to more guitars and it'd go downhill.

I was supposed to be meeting a friend around this time, but cell phone reception was so spotty near the entrance that we managed to miss each other and I gave up trying to find him after an initial search. I took the opportunity to see Flying Lotus after I missed my chance earlier this year due to the cancellation of Levitation. He was definitely was as weird as I was expecting (seemingly just for the sake of weirdness), and he lived up to the reputation of being difficult to classify and categorize. However, this very confusion makes him rather fascinating to behold. He draws you in by forcibly keeping your attention purely with his creative instrumentals. His raps were fine, but the real draw is his skill with blending a psychedelic collage of samples.

Eventually I realized I'd better find my friend, so aided by better reception I went in search of him in the Tito's tent, where Corinne Bailey Rae was playing. She was nominally playing a pleasant take on soul, but she frequently diverted into dancier electronic pop territory. I was less excited by that, but she had a solid band and a great voice at any rate. The bassist was superb but unfortunately kept switching to keyboards to synthesize the instrument in a far inferior fashion.

[Corinne Bailey Rae.]

After a detour to the food stalls and the merch booth, we headed towards the Samsung stage to get a decent spot for Radiohead. Despite that we missed out on some other options in the meantime, it was probably worth it. Here's the setlist:

01. Burn the Witch
02. Daydreaming
03. Ful Stop
04. Airbag
05. How Soon Is Now? [The Smiths cover tease]
06. 2 + 2 = 5
06. The National Anthem
07. Bloom
08. Lotus Flower
09. The Gloaming
10. Exit Music (for a Film)
11. The Numbers
12. Identikit
13. Reckoner
14. Everything in Its Right Place →
15. Idioteque
16. Bodysnatchers
17. Street Spirit (Fade Out)

Encore:
18. Give Up the Ghost
19. Paranoid Android
20. Nude
21. Weird Fishes/Arpeggi
22. There There
23. Karma Police

[Radiohead.]

Radiohead, again augmented by second drummer Clive Deamer, began the show predictably and rather inauspiciously. "Burn the Witch", nominally a song driven by rapidly bowed strings, was simulated by a chugging bassline and what seemed to be synth strings, but the energy suffered from the substitution and Thom's voice wandered a little too far off-key. "Daydreaming" works fine as the follow-up track on A Moon Shaped Pool, but on stage its loose, drifting atmosphere didn't help ground things any more than the opener did. Thankfully, the band opted to skip a few more low-key album tracks and dove straight into the higher-powered "Ful Stop", finally kicking things off in earnest. "Airbag" solidified the deal and was greeted by huge applause.

Pausing briefly for a breather, Thom Yorke started singing lines from The Smiths' classic "How Soon Is Now?". The audience sang along, but before they got too far, the band launched into "2 + 2 = 5". From that point onward, they basically played a conventional greatest-hits set, interrupted only briefly for two more songs from the new album: "The Numbers" and "Identikit". While those may be two of the best songs on the album, I was surprised that they only ended up playing five songs from A Moon Shaped Pool. (At least they skipped the redundant version of "True Love Waits" that is a downgrade from the I Might Be Wrong live version, which itself was a downgrade from the original 1995 live version.) They similarly only played three songs from the previous album, The King of Limbs, and they didn't play any of the non-album singles they released around that time.

In fact, they didn't play anything at all that could be considered unexpected or surprising. Even "Exit Music" is one of their regular numbers, and this performance was marred by a brief loss of sound amplification and by an unruly group near me that decided to shout at each other during the quiet start of the song. I was hoping for "Let Down" (which they've been playing surprisingly often on this tour), "Climbing Up the Walls", or anything they hadn't played in a long time, but to no avail. The last time I saw them, they played an obscure b-side ("The Amazing Sounds of Orgy") and a song that wouldn't be released for four years ("Identikit"), so my hopes weren't entirely unfounded.

That said, what they did play was superb after the first couple duds. I'll take "Reckoner" and "Nude" any day, and the audience was exceptionally excited for "Weird Fishes/Arpeggi". I still think "Everything in Its Right Place" works best in its right place as a set- or show-closer, and while it seemed a little too brief this time around, I liked they way they ran it straight into "Idioteque", which they in turn brought to an uncommonly frenzied pitch. "Karma Police" would be hard to complain about, and Thom graced us with a singalong coda of the chorus before leaving the stage for good.

Considering the limits of the festival stage and the fact they haven't toured in four years, Radiohead still maintained a high standard of performance, and they covered a wide breadth of material from the large catalog they have available to draw from. The show was a good time, but it seemed like they were playing a bit by the numbers. There really weren't any surprises and little to make the show stand out in a positive way. Their stature is such that they could afford to experiment and play around, so it was disappointing that they didn't take the opportunity.

[Radiohead again.]

After leaving the festival grounds, I went to Stubb's to catch a late night show of Andrew Bird, which I will cover in the next post.

Scores:
Foals: C-
St. Lucia: C-
Cold War Kids: C+
Flying Lotus: B
Corinne Bailey Rae: B-
Radiohead: B+

P.S. Foals' setlist is here, St. Lucia's is here, Cold War Kids' is here, Flying Lotus' is here, and Corinne Bailey Rae's is here.

P.P.S. Thanks to Jacob!

Sunday, September 18, 2016

Quilt / Mutual Benefit / Soft Healer - Live 2016.09.16

Artists: Quilt / Mutual Benefit / Soft Healer
Venue: Antone's
Location: Austin, Texas
Date: 16 September 2016

Mutual Benefit's setlist:
01. Madrugada →
02. Skipping Stones →
03. Closer, Still
04. Statue of a Man
05. Lost Dreamers
06. Passenger →
07. Auburn Epitaphs
08. Moonville Tunnel
09. Strong Swimmer
10. Stargazer →
11. That Light That's Blinding
12. Advanced Falconry
13. Getting Gone
14. Golden Wake

Quilt's setlist:
01. Passersby
02. Young Gold
03. Saturday Bride
04. Eliot St.
05. Roller
06. Searching For
07. Arctic Shark
08. Hissing My Plea
09. Penobska Oakwalk
10. Tie Up the Tides
11. Secondary Swan
12. Talking Trains

Local Austin band Soft Healer started out the night. They are a four piece with a vocalist/bassist, a lead guitarist, a drummer, and a keyboardist/vocalist. Their music was sparse, mysterious, and just barely groovy. They managed to remind me a bit of Can's astral jams with lead guitar inspired by the "desert guitar" of bands like Bombino and Songhoy Blues. However, while the bass and drums were solid, the guitar was occasionally a bit weak, and the keyboards were too low in the mix. I liked the openness of their sound and the unusual combination of styles and sounds they presented, but they could still do some work on dynamics and focus.

The main draw of the night for me was Mutual Benefit. Of the three times I have seen them in Austin, this venue seemed to be the best-suited for them, and for once the sound quality was actually decent. The first time I saw them was at a terrible temporary venue for SXSW, where they played a short set plagued by sound problems, but I appreciated the fullness provided by their seven-piece lineup. The next time, the band appeared as a four piece without violins or bass, and again the sound at the venue could've been better. This time, they again appeared as a four piece, but with an altered configuration. Bandleader Jordan Lee handled lead vocals, guitar, keyboards, banjo, and loops as usual, and Mike Clifford and Dillon Zahner returned on lead guitar and drums/backing vocals, respectively. But in place of Jordan's sister Whitney on keyboards/accordion/vocals, there was a bassist/flutist that went unintroduced and whose name I cannot find.

In the previous incarnation, I complained about the lack of bottom end and the confusion of the higher frequencies. This time, the high end was much clearer and well-defined, and while the low end was much fuller, the bass was too low in the mix, and many songs seemed to be missing central parts and melodies. Dillon's vocals were subtle but excellent, and the bassist did occasionally switch to flute for some of the higher melodic components (such as the main keyboard riff of "Golden Wake"), but the sound would have been much more complete had regular collaborator and violinist Jake Falby been present. He was part of the core of musicians that contributed to the new album, Skip a Sinking Stone, and was featured prominently in the great early version of "Not for Nothing" featured on the Shaking Through webseries. Whitney was also missed, and since she apparently lives in Austin, I was hoping she might make a guest appearance, but that did not materialize.

None of those considerations should be taken as a criticism of the performers that were present: the quartet all played well and created a warm, mellow bed of sound punctuated with Jordan's pleasing melodies and a decent rhythm section. Although there was a pretense of rock, the band generally kept to a rather modest energy level. In fact, if there's a critique to be made, it's that they were almost too restrained. The fact that the songs were a little under-arranged only reinforced that notion.

Nonetheless, their songs have such an easy, comfortable appeal that it was still a captivating experience. Their setlist was evenly split between the new album, Love's Crushing Diamond, and older EP tracks. It was a bit odd that they only played five of the twelve tracks from the new album, while they also played five of seven slightly longer songs from the previous album. They didn't even play the best song from Skip a Sinking Stone, the sorta-single "Not for Nothing"! I didn't miss most of the lesser second half of the album, but I was still hoping for "Many Returns".

[Mutual Benefit.]

The audience shuffled about quite a bit between sets, but surged towards the front of the room when Quilt took the stage. Their regular lineup of Anna Fox Rochinski (vocals/guitar), Shane Butler (guitar/vocals), Keven Lareau (bass/vocals) and John Andrews (drums/vocals) was augmented on this tour by keyboardist June West, who greatly added to the fullness of their sound.

They slowly worked into the lead track of their new album, Plaza, which gave the band a chance to show off their sublime folk harmonies and their psychedelic guitar explorations. The effortlessness with which they unassumingly wield their voices in harmony was truly fascinating to behold, and the guitarwork was great without being a spectacle of pure show. Their bassist was also talented and kept a great groove while occasionally even contributing clever melodic additions.

While some of their songs were surprisingly short, most seemed to be extended into free jam territory. They never strayed too far away from the core song or let themselves meander into blandness. Some of the best songs, such as "Tie Up the Tides" and "Secondary Swans", exploded into great instrumental passages, but then returned back into new sections of the song with lyrics. It all flowed together seamlessly.

I was surprised that, much like Mutual Benefit, Quilt played for just under an hour. There were calls for an encore, and it wasn't even quite midnight yet, but the show was over.

[Quilt.]

Scores:
Soft Healer: B-
Mutual Benefit: B
Quilt: A-
Skip a Sinking Stone: B+

Friday, August 12, 2016

The Man and the Scientist - The Invisible Hand Is a Hoof (2016)


Artist: The Man and the Scientist
Album: The Invisible Hand Is a Hoof
Release Date: 15 July 2016
Label: Self-released (via bandcamp)

Tracklisting:
01. Anubis
02. Bar-D-Que
03. The Sound of a Bumble Bee Keistering Pollen
04. 60/60 Vision: Right Eye
05. Toad Spokes
06. God Likes America As a Friend
07. Reverse Mechanics
08. Eavesdropping on Your Own Funeral
09. Happy Birthday Forever
10. 60/60 Vision: Left Eye
11. Do You Guys Give Up, or Are You Thirsty for More?
12. I Like to Count to 4 As Much As the Next Guy
13. It's All for You Damien [hidden track]

The Man and the Scientist is the collaborative project of Brad Schumacher (Night Grinder, The Least Comma, Street Justice, etc.) and Josh King (Tornado Head/The Everest Ruin, The Last Glacier, The Oust, and so on). They've worked on a series of other projects together as well, including some (full disclosure!) that have included myself (e.g., Baal's Beacon). Both enjoy building their own instruments and both have deep roots in noise and experimental music. However, Josh has a deep catalog of singer-songwriter, rock, and jazz-oriented material, while Brad has operated in variety of post-industrial affairs.

Their earliest performances and albums as a duo (Pornucopia, 2007, and Duke Brunch, 2007/2008) were primarily oriented around pure, experimental noise. Guitars were only present as inputs into noise rigs, just like the copious use of contact mics. Caves, recorded in 2009, espoused a more placid, practically ambient sound, with relatively clean guitar as a primary instrument. Their most recent album, a collaboration with Falsetto Boy/Cup Collector/Jim Fitzpatrick (Top Teeth, 2014, credited to Falsetto Man & the Scientist), married drum machines and synth-like noise with improvisational guitar and bass.

The Invisible Hand Is a Hoof takes this wide array of sounds and styles and brings them together. "Anubis" starts off the album with a heavy, aggressive, almost metal sound, recalling Brad's earliest punk days and the most intense moments of The Last Glacier. "Bar-D-Que" is a brief jolt of thick layers of static, noise, and radio garbage, which abruptly leads into another short blast of energy, "The Sound of a Bumble Bee Keistering Pollen". The percussion, consisting of a fast-paced metallic rhythm and what sound like tuned bells or bars, resembles Einstürzende Neubauten.

From there, the intensity takes a step down and the band explore ideas introduced from the members' assorted other projects. Unlike previous albums, in which the two core personalities were welded together to form one cohesive, overarching sound, this album reveals distinct, discernible elements of the specific interests of both members. The album has myriad sonic colors, although much of the album aligns roughly into two divisions.

Both "60/60 Vision" pieces, "Eavesdropping on Your Own Funeral", and "I Like to Count to 4 As Much As the Next Guy" are strikingly melody-oriented and almost peaceful. This isn't ambient music, though, as the sinister keyboard in "Left Eye", the chiming guitars of "Eavesdropping", and the dark synth tones of "Count to 4" make clear. Furthermore, while "Eavesdropping" has a light, pastoral mood, the title and theme are less comfortable. Part of the pleasure of these songs lies in the sophisticated bass work, which serves as a reminder that both Schumacher and King have gravitated towards the instrument in their recent work.

The opposite side of the spectrum is embodied by "God Likes America As a Friend", "Happy Birthday Forever", and the Home Alone-referencing "Do You Guys Give Up, or Are You Thirsty for More?". These are noisier songs, deliberately ugly and unsettling in places. "God Likes America" might go on too long after it makes its point clear, but the ridiculous sound collage of "Happy Birthday" is mildly hilarious after you get past the challenging listening experience. "Do You Guys Give Up" is a brutally self-aware statement to put near the end of a 56-minute noise album, but if you put the sparse soundscape in the perspective of Kevin McCallister booby-trapping his house against thieves, it too becomes more captivating. Even Brad's suppressed laugh fits the storyline.

"Reverse Mechanics" is the song most deliberately reminiscent of Brad's work as Night Grinder. The tense, hyperactive, squelchy drums and noise rig explosions would put the song right in line with Immediate Content (2014). On the other hand, "Toad Spokes" could practically be a b-side from Josh's Super Platformer (2014). The video game-like keyboards, the stilted rhythm, and even the bizarre spoken/rant section have the same sense of retro-futuristic otherworldliness.

The lone outlier is the final, hidden track, "It's All for You Damien". It consists simply of a conversation between the principals about a third person, a loud burst of noise, and then a conversation about shopping for electronics at Goodwill. It's not a particularly musical track, but if you've made it that far and can keep up with the humor, it feels like a coda, or a reminder of the human context that such unusual sounds and textures were born from.

The Invisible Hand Is a Hoof is the work of an experimental band that isn't done growing. It shares a few elements and a lot of the spirit of previous albums, but it is firmly a series of steps in a number of new directions for the duo. For fans of either member's other projects, it's a pleasure to hear them transform similar ideas into a different space for this project. This may be their most compelling album yet.

Friday, August 5, 2016

case/lang/viers / Andy Shauf - Live 2016.08.03

I heard about this show two days before it took place. I had already been surprised by how much I liked their brand-new album, and even though I also saw a show the night before, this seemed like too good and rare of an opportunity to pass up.

Artist: case/lang/veirs
Venue: The Long Center
Location: Austin, Texas
Date: 3 August 2016
Opening Act: Andy Shauf

Setlist:
01. Atomic Number
02. Honey and Smoke
03. Song for Judee
04. Delirium
05. Blue Fires
06. Greens of June
07. Down I-5
08. 1000 Miles Away
09. I Can See Your Tracks [Laura Veirs song]
10. Margaret vs. Pauline [Neko Case song]
11. Helpless [Neil Young cover; lead vocals by k.d. lang]
12. Super Moon
13. July Flame [Laura Veirs song]
14. Sorrow Nevermore [k.d. lang song]
15. Man [Neko Case song]
16. Georgia Stars

Encore 1:
17. Best Kept Secret
18. Hold On, Hold On [Neko Case song]
19. Constant Craving [k.d. lang song]

Encore 2:
20. People Have the Power [Patti Smith cover]
21. I Want to Be Here

The show started with Andy Shauf playing slow, heavy, doom-laden chords on an electric guitar while mostly hidden in the dark. His rhythm didn't change when he started singing, nor when his band unobtrusively joined in. The drummer restrained himself with a tiny, tight kit. The bassist played as few notes as possible. The keyboardist was the only musician to really stretch out his sound, but his actual parts were still rather plain. I was expecting Shauf to take a big lead, or to open up his voice, but neither happened.

After the first overlong song finally came to an abrupt end, Shauf loosened up a bit, but the basic pattern didn't change. Shauf stuck to rhythm guitar, which he was quite good with, but the music was often left without melody or even much character. Most of the songs were fairly downbeat, there weren't really any solos or lead parts, and most of the songs ended with an unfinished feeling. Shauf seemed a bit awkward, yet managed to come off somewhat humorous, which was at least something of a counterpoint to the music. While he may be a decent songwriter, his vocals were unspectacular and the music never quite took off.

[Andy Shauf.]

When Neko Case, k.d. lang, and Laura Veirs came out, they lined up in an ellipse and launched into the opening track of their new collaborative album, case/lang/veirs. They continued in a run of songs all from the new album, initially following the tracklisting but increasingly diverging as they went along. As the opening of the album is quite strong, the performance started on a high note, but right about the point at which the album starts to lose its focus, the live performance kept up the energy by introducing songs from the various members' solo work. With the addition of each other's backing vocals, these older songs blended in reasonably well and brought an extra degree of audience adulation.

The three principles seemed genuinely thrilled to be on stage together, joking with each other and supporting each other's efforts. Veirs was a bit less at ease than the other two; Case and lang took the stage with natural grace. However, Veirs was also the one playing guitar on just about every song, while Case only played guitar for a few songs, and lang only took a banjo for "Sorrow Nevermore". Their backing band carried the songs through, but rarely took the spotlight. Guitarist Johnny Sangster and keyboardist/trombonist Steve Moore both took a few brief solos, but filled most of the sonic spectrum underneath the vocals. (Both occasionally sang into microphones, but I never could discern their contributions.) Drummer Barbara Gruske and bassist Lex Price were both solid performers as well.

[Veirs, lang, and Case.]

The three singers share some common ground, such as some country leanings, but they have fairly distinct styles. Lang is probably the most popular (certainly the punters indicated as much), and her songs were accordingly the most straightforwardly pop-oriented. She also has the best voice of the three, which she used to her full ability. Case is something of an indie rock icon, known for her casual style, unclear lyrics, and strong vocals. Veirs is the one I know least about, but her approach seemed more rooted in folk music. While she too possesses a good voice, she unfortunately wielded it in a slightly affected manner. However, it would be entirely unfair to label her a weak leak, especially considering that she wrote or cowrote every song on the album. (Of the fourteen tracks, four are credited to all three, two to Case and Veirs, four to lang and Veirs, and four to Veirs alone.)

These variations of sound and style did not detract from the performance, but rather enhanced it. It felt like I was getting the best of several worlds all at once, and excellent vocal harmonies on top of it all. Almost every song was a well-crafted effort of songwriting, honed for accessible appeal yet possessing emotional depth. The lyrics were good, the singing was superb, and the musicianship irreproachable.

"Helpless" may be a somewhat melodramatic song, but it remains one of Neil Young's classics and I can't help but like it. This trio's take was based on fellow Canadian k.d. lang's cover, starting with a unique bassline, gradually building up lang's vocals, and eventually introducing Case and Veirs' CSN-like harmonies. This song was one of the first that really excited the crowd, and the next to do so was lang's "Sorrow Nevermore". Before the latter, she invited the audience to approach the stage. This was readily obliged, particularly after she described her banjo as a "chick magnet".

[Veirs, Case, and lang on banjo.]

Both encores went over well, although I was surprised that Patti Smith's "People Have the Power" didn't receive the same level of apparent appreciation as "Helpless" or some of lang and Case's songs. I've always been a big Smith fan, and she seems to have a reasonably sized fanbase, but I can never tell who actually likes her and who doesn't. Anyway, the singers split up each verse into thirds for each to sing one of, and they all joined in for the big chorus. They took the anthemic nature of the original and made the most of it. The final number, "I Want to Be Here", was also a showcase for the collaborative vocal efforts of the trio.

Veirs mentioned at one point that this was probably a one-off project and a unique tour unlikely to be repeated. It felt like something special, and it was a lucky experience to see three such talented people in a room together all at once. They managed the rare feat of building off each other's strengths and making something better than the sum of their parts.

Scores:
Andy Shauf: C
case/lang/veirs: A

Thursday, August 4, 2016

Woods / Cian Nugent - Live 2016.08.02

I was supposed to see Woods at Levitation earlier this year. Obviously, that didn't happen!

Artist: Woods
Venue: The Sidewinder
Location: Austin, Texas
Date: 2 August 2016
Opening Act: Cian Nugent

I was getting a bit concerned when the scheduled start time of 8pm rolled around and nothing was happening. Maybe the venue had deceived us, hoping to get more people in the door, and actually expected to start a half-hour late. 8:30 came and went with no activity. Around 8:45, I finally recognized the members of Woods moving around on stage. Right as I concluded that the opener must have no-showed, I heard an "excuse me" in a decidedly Irish accent right behind me. It was Cian Nugent, carrying three guitars. He briefly conversed with Woods up on stage and they cleared off, leaving him just about ten minutes before their scheduled set time of 9pm. The house music finally quieted. Cian apologized for his delay, blamed a mix-up with time zones, and said he still had time for two songs.

[Cian Nugent.]

Cian played what looked like an acoustic guitar with an electric guitar pickup bolted over the sound hole. The combination gave him a tone that was beautifully clear, crisp, and sharp, yet still has the fullness of an acoustic guitar. Cian's lyrics were surprisingly well put together, but his voice was decidedly secondary to his easygoing but intricate fingerpicking patterns. He even managed brief, melodic solos in both songs. I was disappointed that I didn't get to see more of him, as he certainly had promise. I liked his bluesy folk feel and thought that with more time on the stage he could have really shown some outstanding guitar skills.

Immediately after Cian stepped down, Woods came up on stage. They started out as a five-piece with Jeremy Earl on acoustic guitar and lead vocals, Jarvis Taveniere on lead guitar and mostly inaudible backing vocals, Aaron Neveu on drums, Chuck Van Dyck on bass, and new member Kyle Forester on keyboards, percussion, and excellent harmony vocals. They started with four songs in a slightly psychedelic vein of folk. I loved the basswork, and the songs were reasonably good, but I quickly began to tire of the steadiness of the sound.

[Woods.]

At just about that time, Woods brought out guest trumpeter Cole Karmen-Green, Forester picked up a saxophone, and Earl switched to an electric guitar. The music took a radical jump towards a vibrant take on jazz. These songs were presumably from their latest album, City Sun Eater in the River of Light. The brass section was superb, the energy level picked up dramatically, and Earl started taking wild, extended guitar solos. Van Dyck's basswork only got better, and Neveu's rhythms got noticeably more interesting, but Taveniere seemed to fade into a corner. His guitar and vocals were both mixed low, and with Earl on lead, it didn't seem like there was much space left for him. Regardless, the subset of songs in that configuration was the strongest part of the set.

Karmen-Green left after this run of jazzy songs, and from then on the band pursued a third sonic path, rooted in their folk side but more willing to branch into psychedelic rock. Earl switched between acoustic and electric guitars, and Taveniere occasionally played more visible lead parts. Compared to the first few songs, the last part of the show was decidedly more upbeat and jammy, but it didn't approach the jovial jazzy experimentation of the middle section.

[Woods with Cole Karmen-Green.]

The band maintained a low-key, friendly demeanor that I appreciated for its honesty. For example, a particular audience member loudly and repeatedly requested the song "Make Time for Kitty" from the band's debut, How to Survive In/In the Woods (2005). Forester eventually responded and explained to the audience that there was a small contingent of fans that advocated for that song. He seemed willing to play it, and told Earl, "It feels right. Tonight should be the night." The rest of the band were clearly uninterested. Forester offered to play his own rendition, but then admitted that he couldn't actually do it.

I went to the show without really knowing what to expect. I came away pleased. Woods played a rather tight set of about 75 minutes, and after the first batch of songs, it was a solid show. It wasn't that those first songs were bad, but in comparison to what followed, they seemed less exciting. This wasn't helped by Earl's voice, which is naturally rather soft and vague, but was mixed in such a way as to be particularly clouded and mostly indecipherable. Otherwise, I liked their general sound, but what really made the band stand out was the jazzier material from the new album. It represents a laudable departure from their previously recorded work that I hope will continue to bring fruitful results.

Scores:
Cian Nugent: B
Woods: B+