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(02/12/16 7:03pm)
Eaux Claires Music Festival announced their lineup yesterday, and tickets went on sale this morning at 10 a.m ET.
In honor of Eaux Claires Part Deux, people who bought early bird tickets received cassette tapes highlighting some of the artists performing at the music festival's second year. The festival will be in the beautiful Chippewa Valley in northern Wisconsin and will take place August 12 + 13.
Last year, the fest was founded by Justin Vernon and featured many of his close friends and neighbors. A truly unique experience, the inspiration and friendship that knitted together featured groups such as Bon Iver, Sufjan Stevens, and The National was tangible and culminated in multiple musical collaborations.
This year the intimacy is sure to be repeated. Bon Iver will be performing (and Justin Vernon told Billboard the project is "no longer winding down"!), as well as Erykah Badu, Beach House, Unknown Mortal Orchestra, The Staves, Lisa Hannigan, and multiple variations of the Dessner brothers (members of The National and other projects). In addition, a Grateful Dead tribute band called Day of the Dead will likely feature many different artists. There's already speculation about Courtney Barnett being there. One of the highlights of last year's Eaux Claires was musicians popping up in sets they didn't originate from [Sufjan + The National; Justin Vernon + The Staves + all of his friends (so basically the entire festival)].
More artists will join the lineup later on in the year.
(01/26/16 3:53pm)
Released 1/22/2016
6/7
Palana is a delicious synth-pop journey, mixing a variety of influences, ranging from New Wave beats of the 80s, a little of the Doors and of Nico, yet becoming completely singer Charlie Hilton's own. With help from producer Unknown Mortal Orchestra's Jacob Portrait and Mac Demarco, Hilton created a nearly perfect debut.
The opening track, "Palana", is an ode to her long-lost self, shed behind her childhood name. She admits she needed to "become somebody else." She has a lot of questions; enough to make a song out of, which she envelopes in the bonus track "When I'm Gone". Her soul-searching remains light and airy, and applicable to many of attitudes of the millennials.
"Something for Us All" picks up the pace, heavily depending on the keyboard, but adding in a hint of a rock'n'roll guitar riff. In "Pony", Hilton sings of a dead-horse relationship, and trying to rid herself of someone who doesn't know her. Both "Pony" and "Long Goodbye" lean on New Wave auras, but remain relevant to 2016. "Long Goodbye" is a hazy recollection of a dream lover, unidentified as real or imaginary.
The first half the album shifts to a stunning and stark track called "Funny Anyway". Pared down from the synths to just a guitar, some trembling strings, and hardly anything else, Hilton sings of her uncertainty - applicable to nearly everything she touches, does, or thinks. Uncannily omnipresent and beautiful, she ends her melody with "even though I'm not laughing, it's funny anyway".
"WHY" picks up the pace, laying down a nice bass. She sings of a dalliance that is falling apart, just pulling at the threads of exhaustion and calculations. "I'm reminded why," she repeats over and over again, not saying much, yet telling exactly what she means. This song illustrates her capture of a good pop song - instead of layering her voice and adding harmonies that could have fit in, she keeps things simple and effective.
"Let's Go to a Party" unfolds a new chapter of discovery against easily-swallowed synth. "I'm only happy when I'm dancing", she simplifies, eliminating the need for talk or anything else. "Snow" is like the morning after, when you realize you don't know who you did last night, but you're yearning for the familiar. "Faces I don't recognize / Is this what returning's like?"
"The Young" sings of the need to connect with someone else, to fall into pieces together. "This is not the time / to be alone and worried / it might mean something to the young", she croons, sounding like Nico, before throwing a sexy sax above the reverb that is the spine of the song.
"No One Will" adds the strings again and the simple and straightforward wanderings of Hilton's lyrics. She states that her love is "nonfictional" and "classical," and the "only thing that I can believe in". It displays uncomplicated verses for an intricate love.
The swan song of "100 Million" features Mac Demarco. It's another descriptive love song, possibly the perkiest of the album. Hilton sews together an idealistic love "We drink the water / one day it hits the sand / we touch each other / one day we'll understand," she tells her amour, explaining her heart is a willow, her song is a sparrow, and her love will last centuries.
Must listen: "Funny Anway", "100 Million", "No One Will", "Let's Go to a Party"
https://play.spotify.com/album/7mAqUZqX5vkW4IAnEOWf53
(01/19/16 2:26pm)
Released 1/15/2016
4/7 stars
The sophomore album from Daughter, formed of band members Elena Tonra, Igor Haefeli and Remi Aguilella, vies for bitter winter winds and cold hands grasping onto any warmth they can discover. Tonra's lugubrious voice floats over somber layers of bleak lyrics and reflective instrumentals. Daughter's "New Ways" opens the album with a windswept attitude, similar to Dido's "White Flag." The fear and acceptance of the monotony of the future is depicted in "Doing the Right Thing", while almost describing a frightening scene of losing her mind. Tonra's numbness ironically is a vital part of her expression; she marries scenes that are depressing at best and deadly at worst. Her voice could gently sing a lamb to sleep; the lion hides behind her words. Slightly clinical and universal, she sings for all the ones who "sit in silence / let the pictures soak". All of her scenes are gloomy, introspective, and beautifully lethargic; a grasp on her image, so as "not to disappear."
https://play.spotify.com/album/7uPIHbGRcVhOKUDzhRG9a8
Must listen: "How", "Doing the Right Thing", "Fossa", and "Numbers"
(10/22/15 8:51pm)
Saintseneca is on tour right after releasing their new album Such Things earlier this month. The Ohio band is not a stranger to Bloomington; and their shows are often as electric as the variety of instruments the band pulls on stage.
The Sidekicks, another band from Ohio, will open the show; as well as Yowler, a side project of Saintseneca member Maryn Jones.
18+. Doors open at 8:30 p.m. Show is at 9:30 p.m. Tickets are $10 in advance, $12 at the door.
(10/19/15 2:37am)
Released 10/09/15
6/7 stars
For fans of: Neutral Milk Hotel, M. War
Such Things, the third album from Saintseneca, is a slight turn from previous efforts. Guitarist and lead singer Zac Little said in interview with NPR said the band focused on “easy to swallow little pop song pills.”
Still, I wouldn't necessarily classify them as saccharine and simple pop songs. Instead, the album reaches for something more, sometimes sweet, but mostly intriguing. All the songs beautifully coalesce into each other, lending to a cohesive and full album. Most of the songs pose as questions, and even though they aren’t answered; the great blend between real feeling and whimsy, rooted in vital, natural images, creates a primal yet meditative album. There’s cleverness hidden between fantasy and reality; for example, in “The Awefull Yawn”, the singer states, “Every pill that Elvis ever ate wouldn’t shake the ache”. If you judge albums by how good it would sound in your beaten-down 1998 car, with the windows rolled down and the stereo about to break, Such Things would be a top pick. There’s hardly a song I would choose to skip over.
The experimental-folk genre has to make room for quintet Saintseneca, composed of Zac Little, Steve Ciolek, Jon Meador, Maryn Jones, and Matt O’Conke. Such Things is one of those albums that kids 20years from now will be idealizing and pondering over “from the good old days.”
Look at this. I’m already nostalgic. If you can’t sit down and listen from start to finish, you should listen to “Necker Cube”, “Such Things”, and “Sleeper Hold”.
https://play.spotify.com/album/4ORJjnvfBvNAXOcND4FfVW
(10/07/15 4:33pm)
Released 10/2
2/7
For fans of: Local Natives, Young the Giant
Born Ruffians are back with a new drummer and their fourth album, RUFF. RUFF returns to the carefree indie rock the band is known for, that is simple and pop-oriented and easy to please. The track list reads off like a teenager’s diary entries about a particularly dramatic senior year, with songs called “Fuck Feelings,” “Don’t Live Up,” “(Eat Shit) We Did It”, “Let Me Get Out”, and “We Made It.”
“Why are you listening to this?” my mother asked me one day while I was driving in the car, blasting Born Ruffians’ Red, Yellow, & Blue album. “It’s annoying. They sound like they’re yelping.”
My mother’s own personal endorsement aside, RUFF offers a few catchy hooks and styles itself on Luke LaLonde’s pitchy, pithy exclamations. The band’s gone through a rough couple of years, and haven’t seemed to recover yet. A lot of the youthful excitement that was featured on their premiere album has been lost in translation. Two quick songs to pick up the chorus to are “& On & On & On” and “(Eat Shit) We Made It,” but most of the songs lost the punch that was so evident earlier. Plus, a song that mostly repeats an expletive isn’t exactly creative or noteworthy.
The band missed an opportunity to completely rebrand themselves and explore deeper subjects. They seem to toe the line with “Fuck Feelings” and “Yawn Tears,” but the indie-pop sound falls flat with any hint of expression outside of “I’m here to party!”
As their self-chosen title suggests, it's been a RUFF few years for Born Ruffians, and RUFF isn't excluded from that.
Featured tracks:
“Don’t Live Up”
“We Made It”
“& On & On & On”
https://play.spotify.com/album/4EOEZKbilqXRcTRzR3JzL0
(10/05/15 12:09am)
Slowly whispering good-bye to the summer as you trade in your short shorts for flannel and pumpkin spice latte? Well, Georgia-based FUTUREBIRDS will help you out by delivering a psychedelic, country-rock set at the Bishop on Tuesday evening.
Tagging along with FUTUREBIRDS is Harpooner - another psych-rock band, straight outta Bloomington, Indiana.
There's just enough indie in their reverbing tunes to create a hazy throwback to 70s style western music. So parade your legs for one night longer as you jam to some chill tunes.
https://www.youtube.com/watch?v=QZYcMcux9oM
Doors open at 8 p.m. / Show is at 9 p.m. / $10
(10/01/15 8:29pm)
Indie darling and ironic commentator Father John Misty has been making headlines these past few weeks, after releasing a mocking single of Ryan Adam's cover of Taylor Swift's Bad Blood (in the style of the Velvet Underground) and promptly removing it, explaining on his Facebook page:
"Down inside the blob I could see thousands of familiar faces and one of them was Lou Reed on a catwalk hand-cuffed to supermodels who had adopted babies handcuffed to them and Lou said, "Delete those tracks, don't summon the dead, I am not your plaything. The collection of souls is an expensive pastime." Then I woke up."
He also created a music video for The Night Josh Tillman Came To Our Apartment, causing fans to be sexually confused about pilgrims. With such a prolific September, he added one more sprinkle to the shake by dropping a new single on Soundcloud called "The Memo".
"Here at the cultural low water mark / If it's fraud or art / They'll pay you to believe," he croons. The song in particular seems to reflect the craziness that's been surrounding him, and everything he does is taken too seriously. If only he could interview himself, instead of letting the pros at Pitchfork create the mystical aura that stalks him. I'm sure Josh and Father John would have a lot to say to each other. Who knows, they might even make out with each other.
2015 has certainly been a successful year for the artist. While his sharp and hilarious album, titled I Love You, Honeybear, dropped in February, Tillman has not stepped out of the limelight. He seems to delight in his persona as Father John Misty, creating a banter with his fans at concerts and festivals alike.
As Josh Tillman, the artist has had minor success. He's released three albums under J. Tillman, and moonlighted with Fleet Foxes for their first two albums as the drummer. None of his other projects have arguably caught the most attention than as Father John Misty, the alter-ego he invented in 2012 to parade his gauzy, neo-Americana, satirical hits. Like David Bowie's Ziggy Stardust, the artist revels in his majesty and is tirelessly keeping up the charade.
https://play.spotify.com/track/39ex1gng2xOIUrNjLOc7Ti
One of the tracks off of Josh Tillman's earlier efforts.
His songs are mythical and satirical, and their appeal is understated. It's hard to believe that a song called "Holy Shit" could be the love song of the digital generation, but after summarizing all that a couple is up against ("Mobile lifestyle, loveless sex / Independence, happiness") he draws us back again with "Maybe love is just an institution based on resource scarcity / What I fail to see, is what that's got to do with you and me." The witty observations belie a sense of truth underneath, and for unentangled lovers and confusing times, it all seems to make sense.
https://play.spotify.com/track/5UOZ1ovPqqls32mijlqp9r
The only thing that would make him more perfect is if he wrote a song about the water on Mars. I have no doubt he could make alien planets and overconsumption sexy.
Hopefully, Tillman will continue to delight and create music for his jaded yet adoring fan base. It's hard to imagine how he can get better, but he'll always find new ways to surprise us.
http://www.youtube.com/watch?v=6krmom_hjEE&w=560&h=315
A beautiful and heartfelt cover of Arcade Fire's "The Suburbs".
(09/30/15 10:25pm)
Released 9/25/2015
5/7 Stars
For fans of: Broken Bells, The National
Youth Lagoon’s third album, Savage Hills Bedroom envelopes the listener in a fleeting and tenuous world. Trevor Powers, the man behind the music, created the album after a friend passed away. Uncertainty plays a heavy hand in the melodies and instrumentals; Powers wavers between a high falsetto and a more assured narration at moments. “We all had a voice / We had a name,” he tells in “Highway Patrol Stun Gun,” one of the easiest songs to transition into. “The Knower” picks up with a brassy section against the synthesizers that are steady on the other tracks. “No One Can Tell” paints a vivid picture of a ballroom and a fight between emotions and reality, a poignant and emotional tale. Traumatic incidences weave into the stories he plays on Savage Hills Bedroom, making an appearance in “Kerry,” a song about his uncle overdosing. Powers ends on a soft note with “X-Ray,” an easy instrumental track. It’s easy to be caught in the hazy and atmospheric lives he intertwines in the brief 36-minute record; the perfect soundtrack for loss of leaves and motivation (or, in other words, winter time).
Recommended listening: “Highway Patrol Stun Gun,” “No One Can Tell,” “The Knower,” “Rotten Human”
https://play.spotify.com/album/2REi0vGs8rCaFms8lVwZzk
(05/27/15 3:25am)
Released 5/26
2/7 stars
For fans of: Jay Jay Pistolet, Drowners, The Wombats, Broken Bells
What do we expect from the Vaccines? Some things that remain steadfast are simple lyrics, short run times, and fun beats behind their music. On English Graffitti, the boys haven’t evolved much from their simple garage rock, but they have experimented with the beach-rock sound they’re known for. Stylistically the album jumps around a lot, but they don’t demand much from the listeners. Easily consumed, the songs lack the paunch to stick around.
Justin Young, the singer, told NME: “I wanted to make a record that was important in 2015 and sounded like 2015.” The band wasn’t concerned with creating a timeless record. Casually, that’s a conflicting statement to avid music fans, whose years are strongly tied to the sounds they’ve heard and loved and grown to.
If this album were to represent a decade in the band's career, it would be the equivalent of the 80's. The two albums released previously (2011's What Did You Expect from the Vaccines? and 2012's Come of Age) were a less confusing time for them. They seem more conscious of what they want to be, regardless of what they say they're aiming for, and miss the mark.
The opening track, "Handsome," is clever and danceable. "Dream Lover" continues to build with the catchy instrumentals, and "Minimal Affection" sounds like something you'd jam to in your car over summer. "20/20" picks up the pace and feels like a race. Fans will appreciate the similarities to "Norgaard," a track off of the 2011 album.
In "(All Afternoon) in Love," the synth gets weird and distracting. The lyrics don't capture attention. The other tracks are short and forgettable, besides "Give Me A Sign," which just has an awkward as hell ending.
In "Denial," Young sings, "Please don't turn the light out / I don't think the conversation's over." His plea for attention could be construed for this album as well. We'll have to see if the Vaccines redeem themselves in their next studio effort.
Recommended listening: "Denial," "Want You So Bad," 20/20"
(04/27/15 1:00am)
There isn’t much time left until summer movies start to premiere, and one of the first destined-to-be-blockbuster is Avengers: Age of Ultron, coming out on May 1. It’s totally going to be awesome. I’ve been thinking about it way too much lately. None of my friends want to hear my ramblings and pointless musings anymore, so I’ve turned to the internet.
James Bond influences everything the characters do, turning each and everyone into a trope
Just kidding. But Joss Whedon, the director, told Empire magazine:
“The opening location is really stunning. There was a moment when there were soldiers and different kinds of people fighting them, and these guys in winter camp come up on a castle in one of those mountain resort elevators that goes side-to-side and looks like a gumboil machine, and I was looking at the Italian alps and the mist and the castle, and this weird thing rises up, full of soldiers in winter camo, and everybody was like… (sings the Bond theme).”
Tony Stark being a narcissistic, self-interested, asshole
He did give up his superhero ways at the end of Iron Man 3. But that doesn’t mean he still can’t cause trouble. Plus, we know he’s going to be in Captain America 3: Civil War. So he’ll be causing some kind of mischief. Especially with this Ultron hullabaloo. What is Ultron you ask? Good question. We’ll get to that later. But seriously. Why does Tony have to fuck everything up? Is Pepper ever going to make him retire? Can’t he just find some nice toy trains to play with as a hobby?
NO TOM HIDDLESTON
Sorry fangirls. You’re going to have to wait until Thor 3. Is that really what we need though? Is Thor really such a great protagonist?? AW YIS, I SWING MY HAMMER AND AM AN AUSTRALIAN GOD. Okay, I see his point.
Captain America looking sad all the time
He’s our moral compass in this strange new world. He doesn’t know who he is, and the future, as Cap has discovered, is corrupt and unfamiliar. Therefore, he’s likely to still be cautious and suspicious of the future and not likely to trust his compatriots easily soon. Ahem, Tony Stark. We’ve already seen them at odds before. And the fantastic Civil War memes are just speculation, but possibly valid. I’m really hoping it’ll be over Stark’s goatee. Although wouldn’t it be fantastic if Steve grew a beard and then they just duked it out? A girl can only dream.
ANGRY FACE HULK
Banner will probably still always be on the wrong side of the tracks. It’s been hinted at that he and Stark are now bros (bruh, like seriously, don’t), and that they both have a part in creating their own little Frankenstein’s monster. But will he have some saucy moments with Natasha? Is that really what we want? I’ve always hoped for some Hawkeye action there. But maybe she’ll cataclymasically break his heart, and he’ll catacalmically break the earth. As you do.
Hawkeye
Fingers crossed we’ll get some backstory on the superhero, especially concerning his whereabouts during Winter Soldier. He’ll probably still be an underdog (not what he deserves!), but considering Ant Man got a film before him, my hopes aren’t high.
Black Widow putting all the boys in their place
She’ll literally be perfect like always. Despite not having a legitimate movie explaining her story (or one of them), she’s periodically shown up in most of the Marvel films (always the sidekick, never the star). EVERYONE will know what her private history is, due to the leak at the end of Winter Soldier. I don’t know how she will handle the information breach, be it with no shame or indignant malignment.
Mysterious super villain Ultron
The gang’s getting all back together to fight this big ol’ bot, played by James Spader. Ultron’s going to be a self-aware robot, as invited by the meddling Stark to solve humanity’s problems. Turns out, humanity’s biggest problem is … the people that make up that particular group, and this dude wants to fulfill his mission and save the earth by… destroying society.
Other interesting characters
Some new folks will be enfolded in the Marvel drama, including Magneto’s spawn, the twins Scarlet Witch and Quicksilver (played by Aaron Taylor-Johnson and Elizabeth Olsen). We know these two jokers are powerful, and have been locked up somewhere, due to a post-credit scene. So some jailbreak will probably be involved. Hopefully with Black Widow, because she’s awesome and has to do everything herself. Also, they aren’t officially able to acknowledge the relationship to the Fantastic Four franchise due to copyright issues with Fox. Spider-Man, alas, will not be making an appearance. Scarlet Witch will likely hold some power over the Hulk, possibly making him have more angry faces than usual (but I doubt that’s even possible). They’re also setting up some characters for future movies, including one for the Black Panther movie (2018). They considered putting Carol Danvers aka Captain Marvel in it, but somebody had some sense to think that a rushed introduction wasn’t the right way to go. Thank the lord. There’s also going to be a guy named Vision, who is an android and somehow relates to JARVIS (both are played by Paul Bettany).
Also, if you made it to the end of this balderdash, you can make it to the end of the credits in the movie, WHERE THERE WILL BE A POST-CREDITS SCENE (there always is. In every single Marvel movie. You’ve been missing out). They’re usually easter eggs foreshadowing what’s next for our beloved characters that take up too much of our time and meme space. So there you go. The movie officially comes out May 1, which is so close I can almost taste it.
(04/04/15 3:23pm)
Released 3/23/15
6/7 stars
For fans of: Mumford and Sons, Joni Mitchell, Johnny Flynn, Noah and the Whale
Laura Marling is back with her fifth studio album, Short Movie, an impressive feat for a 25-year-old. Marling was raised in a musical family, and she released her first album when she was only sixteen. As a result, her pieces reflect every facet of her life, as she transitioned from a precocious young folk musician to a more blossomed and realized artist. One of the most impressive things about her is how the listener can hear in her voice how she lost some of her innocence. On this album, she sacrifices some of the folk mystique for a gritty, rock feel.
This album feels like an extension of Once I Was An Eagle, released in 2013. She stuck to the anger and darkness that made that album so stunning. However, instead of mythologizing and telling fables, she reaches to her own experience and allows her listeners a more private view of her life. After the success of her last album, Marling ran away to America, and tried to renounce her “free-wheeling troubadour” ways. She ended up where all lost souls, dreamers, and vagrants do - in California. But according to an interview with the New York Times, she couldn’t give up music entirely. Eventually, she abandoned the sun and moved to New York City.
Marling’s always used metaphors and stories to hold a veil over her own feelings. The most intimate moments, not seen since “New Romantic,” of her songwriting career are on this album - displayed in nearly all the tracks. It’s refreshing to hear her take part in her own story, and admit (many) of her own fallacies, instead of displaying fantasies and myths. True events swirl in her magnitude of fables and stories, like in “False Hope,” when she sings about her own longings and fury at herself, against the backdrop of Hurricane Sandy.
The spareness of the instruments is reminiscent of Marling’s California journey - started on her third album, when she sings longingly of Salinas. She uses stark imagery of horses and warriors (in “Warrior”) to mirror the sound she strives for. In “Easy,” she sings of the Joshua trees and Santa Cruz. “Howl at the moon, I’ll come find you,” she begs in “Howl.” She always was a lone wolf.
In “I Feel Your Love,” Marling returns to a similar sound to the previous tracks she’s released. Old fans will rejoice at the similarities, instead of despairing of all this rock’n’roll Marling is trying out.
The last few tracks are where Marling picks up speed. “Gurdijeff’s Daughter” is a cheeky admonition to herself for falling in love with the mystique and a reminder not to be impressed by smoke. “Divine” completes a U-turn, where she hesitantly falls in love in a simple, yet beautiful way. “I tried not to freeze before you thaw,” she sings. “How Can I” is a warrior’s cry, gorgeous in its strength. “I’m taking more risks now / I’m stepping out of line / I put up my fists now, until I get what’s mine,” she tells herself.
In Short Movie, Marling resolves all of her turbulent feelings, and lends herself a name for her album. It’s interesting, because unlike Once I Was An Eagle, which conveniently flowed into a literal short movie, Marling does not have the connectivity on this effort. But instead, she leaves us with vibrant energy and resounding emotions, more probing than any of her previous works and more beautiful for the chord they strike within her.
Recommended listening: "How Can I," "Short Movie," "I Feel Your Love," and "Easy"
(03/30/15 3:33am)
Some might join a caravan, but others might settle for the festivities of Edward Sharpe and the Magnetic Zeros. Nothing gets me more rosy-eyed than breezy summer days, filled without a care or a worry. And for those adventurous days and starry nights, I always return to Edward Sharpe and the Magnetic Zeros. “Do you have a story?” Alex Ebert asked the Bonnaroo 2013 crowd. If he were to ask me, I’d say, “I sure do.” My sixteenth summer was one of excursions. From long bike rides on the black, hot asphalt, to lengthy train rides, accompanied by summer sunsets breaking on trees and fallen cities, I lingered on the journey, and the soundtrack was their first album, Up From Below. The album reminded me that regardless of what might be happening, there were still many stories to tell. Who can forget the many, many commercials that played “Home?” Despite its catchy nature, it reminds of a lesson: that no matter how far we wander, the true home will always be the people we love. (And it’s still my go-to karaoke song. There’s nothing more freeing that that duet).
Every generation has a whistling song, and I think we’re stuck with that one. There’s still so much gold on their albums outside of that, like “Man On Fire,” “40 Day Dream,” and “Janglin’”. The energy from their live sets is infectious, and will make you start to dream of the following: escapes, running through fields, making flower crowns, and baking while the sunlight streams through the window (it’ll motivate you, I’m telling you). It does what every good album should: narrate, and eventually color, a portion of your life. I always realize this on long bus rides, where I automatically yearn for the carefree nature of summer. I returned to that wanderlust these past few weeks, as I traveled again on airplanes and buses, to unknown places and the people I adore.
As long as there are unknown places to see, I’ll always have Edward Sharpe to travel with me. Side note: Why did Jade have to leave? Although, if they’re looking for a strong female vocalist, I’m free on Thursday. And with a constantly revolving 12-member set, maybe I still have a chance. I’ll come dance with you.
(03/29/15 1:21pm)
Released 3/31/15
4/7 stars
For fans of: Bon Iver, Feist, Ben Howard, Daughter
If I Was, the second full album from The Staves, explores an overarching theme of disappointment - in themselves, and others, while possibilities while away and youth fades. The Staves, comprised of Emily, Jessica, and Camilla Staveley-Taylor, is a sister trio from England. On their sophomore album, they worked under the direction of Justin Vernon (Bon Iver, Volcano Choir) at his studio in Wisconsin, after supporting him on tour in 2012. The songs on If I Was toe the line between their folk roots and a more pop-oriented sound. It’s similar to the direction that other female folk artists have taken, like Feist or Daughter. The songs dance between the visceral and visual, or a gentle, quiet protest (which harkens back to more of their previous work). Overall, it shows a group that is still a work-in-progress, and are willing to experiment to discover the sounds they want to produce.
The album begins with a song that sounds like war. In “Blood I Bled” and “Steady,” the girls sing about emotional battlefield, surrounded by lush orchestration. “When unruly blood is pumping, why are you running scared?” Their natural harmonies add to the suspense and tension created by the multilayered instrumentalization.
That's not to say that The Staves haven't completely abandon their folk roots. Simplicity is key in songs such as “No Me, No You, No More,” “Don’t You Call Me Anymore,” “Make It Holy,” and “Sadness Don’t Own Me.” “Damn It All” is one of the slower tracks on the album, and plays like a wordless goodbye, a separation of one self from another, without making any more excuses. “Even though I love you, I want you to go,” the sisters delicately sing, adding a guitar to make their point. “Damn it all, I don’t want it all.”
In “Black & White,” the furious nature of being left in the dust is brought up again. “See myself in black and white, it isn’t done, it isn’t right,” the girls sing. The heavy instrumentals magnify the anger of self-examination.
In “The Shining,” which name-drops the horror film of the same name, lessens the anger with more piano and less harmony. It’s more upbeat, while the singer scrutinizes a relationship with all of its blemishes.
The last few tracks fritter away the disquiet of the previous melodies and instead focuses on how to change things for the better. In “Horizons,” the band asks, “where do I go / when I want to set it down?” The music picks up in “Teeth White.” It is a rock anthem to be stronger, despite all of youth’s frailties - and invincibility.
If I Was will be released on March 31. Currently the tracks are streaming via Stereogum. Top songs: “Teeth White,” “Black & White,” “The Shining,” and “Horizons."
(03/25/15 4:49pm)
Released 3/31/15
6/7 stars
While Sufjan Stevens' newest album, Carrie & Lowell, might not revolve around a landmass or a highway, the artist still manages to express a sense of belonging throughout his pieces. At first listen, you’d think that he’s a will o’ the wisp floating through, strumming songs and giving advice, before disappearing with the next gust of wind. But a man who writes a love song for a serial killer is not to be taken that lightly. He explores an intimate space of grief on this album, and a sense of despair for what’s to transpire. The simple instrumentation belies the complexity of his lyrics and thoughts.
The family he was brought up on is heavy on his mind in his songs. Even the name of the album is a tribute - to his mother and his stepfather. As told in interviews, his mother left when he was a year old, and struggled with mental illness before she passed away in 2012. He’s trying to reconcile the pain of an absent mother with the death of woman he never really knew. “What song do you sing for the dead?” he ponders in “Death with Dignity.” The idea floats over to the next song, “Should Have Known Better.” He alludes to trips to Oregon with his family, as well as juxtaposing the past with his mother, with the future of the fresh family. “My brother had a daughter / The beauty that she brings, illumination,” he sings, as the song progressively grows more upbeat.
The title song is a like a patchwork of memories, as Stevens tries to chase fading times. He adds layered harmonies that add to the poignancy of the darkness that lies behind the corner. His mother’s issues are “carried by stones,” “like a dead horse” - he even adds in the name of the medication she was on. All of this “ephemera” proves that the memories aren’t to be enjoyed for long.
Besides his family, Stevens seems to want to dredge up past relationships and question his belonging in this world. In “All of Me Wants All of You,” he realizes that he is walked over, but he still longs for the person in question. In “Eugene,” he comes out and says that it’s bittersweet to realize that “admitting the past is behind me.” That also raises the question of his purpose in this life, which is a prominent feature of “Fourth of July.” He juxtaposes pet names like “my firefly” and “my hawk” while finding it odd that it was time to say good-bye. He wants to know what his pet has learned before they passed away, and fades into a chorus of “we’re all gonna die.”
The neuroses of being left behind is further explored in “The Only Thing.” A circular song, it returns to Stevens' relationship with God, saying, “Everything … returns to you somehow,” no matter if he wasted his life on other things. In “John my Beloved,” Steven falls in love with a mystery, and while he’s trying to find somebody, anybody, to protect him, he also feels unequal and a waste. All of this strife is caught up in a moment of lust, love, or hope, and doesn’t last long.
Second-to-last on the album, “No Shade in the Shadow of the Cross” simply epitomes Carrie & Lowell. Lyrically, it is one of the simplest tracks. But each word packs more punch, and digs straight to all of the agony that he explores in his other songs. Between his mother, his lost lovers, yearning for love, realizing he’s taking things too far, and that he’s “falling apart,” the song floats all of his despairs into a simple, elegant lullaby, or dirge. The biblical illusions continue - he seems to say that living up to an ideal leaves no room for wrongdoings, and the thought of that haunts him. In a mere few moments, Stevens wraps up his thoughts and presents it in a neat little map, with none of the allusions he adds in his other pieces.
Currently, the album is streaming online at NPR and will be released on March 31. Top tracks to listen to: "No Shade in the Shadow of the Cross," "Fourth of July," "John My Beloved," and "Carrie & Lowell".
(03/03/15 12:11am)
Released 3/10/15
3/7 stars
Will Butler released his solo debut a week early today. Policy, an eight-track record, is streaming online at Spotify, and the physical copy hits shelves next Tuesday. His new tracks may disappoint fans who are familiar with his previous work with Arcade Fire and on the soundtrack for the film Her.
Butler told Pitchfork that he had no limitations of genre on this record. He seems to ask fans in his first track if they’re going to follow him on this journey of self-exploration. “Are you gonna take my side?” he crones in “Take My Side.” That might be too demanding of fans, as he jumps from an Americana-rock-pop kind of feel (from “Son of God”) to more funky sounds, to heavy, piano-laden ballads (“Sing to Me”).
"Anna” is reminiscent of late 80s-rock, with obvious influence from artists like The Talking Heads and Violent Femmes. In “Finish What I Started,” he seems to sigh about disingenuous feelings, sounding a lot like John Lennon.
"Something's Coming" will sound familiar to fans, reflecting Butler's influence on Reflektor. He also sounds a lot like David Byrne in his experimental 80s phase. "What I Want" is a more rock-driven melody, with some mocking lyrics that continue throughout the album. "I'm not saying we should rush this, I'm not suggesting that we should start having kids, but maybe, we could think about getting a dog, or a fishtank, or a jar of squids," Butler sings. This sort of ironic wording is in constant play in all of the songs in Policy.
He loses energy in the piano ballad "Sing to Me," constantly repeating that he's "tired" and "angry." The whole album could probably be summed in those two words. Butler bounces right back in the last track, “Witness,” which is possibly the strongest on the album, featuring clear vocals and a peppy sound. The overall effect is discombobulating, with no axis to base the songs on.
It is obvious where Butler drew his inspiration from, but the mixture is too different and not cohesive enough to be pleasing as an album. His songs seem to play too much as copycats rather than original pieces of work. By themselves, the songs are decent. The entire album seems more like an effort of tribute to Butler's idols rather than an expression of his personal voice.
Most of the tracks were created entirely by Butler. Jeremy Gara played drums, and various other artists provided woodwind support and vocals. If he had more creative input from others, would the music be more electric? Usually, Butler performs with his brother, Win, and Win's wife, Regine Chassagne, along with various artists, creating an inventive and unique style. Overall, his efforts with Grammy-winning band Arcade Fire seem to be more worthy of his time.
Butler is embarking on a tour of the Midwest soon and will be playing at The Bishop on March 24.
(02/28/15 8:16pm)
Have some feelings you don't know how to express? This snow just dragging you down? Then head over to the Bishop on Mar. 1 to hear psychedelic, beachy bands The Growlers and BRONCHO. Self-described as "beach goth," The Growlers are known for over-the-top performances and their very own festival on the West Coast, Beach Goth Party. Their newest album, Chinese Fountain, was released in September.
Oklahoma's own BRONCHO strikes your ears with similar sounds. One of their songs was featured on GIRLS. Isn't that reason enough for you? Their most recent album also came out in September.
Warm away the winter dancing to the concert Sunday night at 8 p.m. at the Bishop. Tickets are $12.
(01/21/15 4:32pm)
Actively avoiding Thursday thirsties? Then head over to the Bishop Bar on Thursday, Jan 22 to see local band Dietrich Jon, presented by Winspear. Lately, the band has been performing around the Midwest and recording a full length album. Last month saw the release of the video for their single "S.Y.B.G.". The band's past singles are catchy with a folk-infused rock blend.
The 18+ show opens at 9:30 p.m. Tickets cost $7. Slonk Donkerson from Brooklyn and Winslow (a lo-fi band from Carmel, IN) will be opening.
(11/11/14 3:54am)
Communion is a world-wide phenomenon that started in London in 2006. The aim is to expose independent artists and introduce fans to new music. Some artists that are involved internationally and nationally are Daughter, Twin Peaks, and Ben Howard. Lucky for us, we have our very own Communion scene at the Bishop each month. For November, The Soil & The Sun, Count This Penny, and The Underhills will be featured.
The Soil & The Sun hails from Grand Rapids, MI and is "a corn-fed, Experiential Spiritual Orchestral Rock" group. As Hoosiers, I think we can all agree that corn is life, and therefore appreciate the hazy melodies produced by this group.
Count This Penny is another Midwest band from Wisconsin. Their genre is more folk-country, and they've opened for acts such as The Head & The Heart and Kacey Musgraves.
Local Bloomington band, The Underhills, is a folk and bluegrass group that has awesome sets. I can only say this because I've seen them once, and I can't wait to see them again.
Outside in the Morning by The Underhills
So if you'd like to come out and support some great Midwestern bands, head out to The Bishop on Tuesday night. Doors open at 8:30 p.m. and tickets cost $10 in advance and $15 day of.
(11/10/14 3:46pm)
Ah, diabetes. Often the butt of many fat jokes, it's a disease that's poorly understood yet widespread. November is Diabetes Awareness Month, and November 14 is World Diabetes Day.
There are three kinds of diabetes: Type 1 (sometimes called juvenile diabetes), which is an auto-immune disease where the beta cells from the pancreas are attacked. They aren't able to make any insulin, leading to a lifetime of insulin injections and other fun things. Type 2 generally happens because of lifestyle choices or hereditary factors, and can sometimes be averted or fixed. Gestational diabetes happens during pregnancy.
And yes, people with diabetes can eat sugar. No, it did not cause their immune systems to break down. And did you know that diabetes causes more deaths yearly than breast cancer and AIDS combined? If you're interested in doing something about that statistic, check out some organizations like JDRF.
Many celebrities live with diabetes. Here are some of our favorite musicians with the disease.
Brad Wilk of Rage Against the Machine: Wilk was diagnosed in 1997 while touring with the band. As the drummer, he says he has a very specific routine before he goes on stage: he eats a banana and continuously checks his blood sugar, as well as having a support team behind him. His advice to other diabetics? "Diabetes is no walk in the park, I know. But with the proper care and knowledge, it can be a manageable disease. The more accepting you are about the fact that you have this disease, the better you will begin to take care of yourself. And it's nothing to be embarrassed [about] or ashamed of. Be proud of who you are, and don't let this disease keep you from doing what you want to do."
Bret Michaels of Poison: Everybody can recognize "Every Rose Has Its Thorn," but did you realize the lead singer was diagnosed with diabetes when he was 6 years old? Michaels said, "I use diabetes just as one more challenge in my life. You have to accept it because there is no other choice. You either do well with it or it will take over your life, and then it's not going to be so great." He acknowledges that it's tough to tour with it on the road, but he makes adjustments for it.
Nick Jonas of The Jonas Brothers: Whether you're a classic Jo Bros fan or just a fan of Nick's recent crotch-grabbing pics, you might not know that the singer has Type 1 Diabetes. He's an avid spokesperson and often talks about using an insulin pump called the OmniPod. “For someone who had no bad medical history ever,” he says, “to suddenly have the shock of diabetes was a bit overwhelming in itself, and then I had to learn all about it, learn all these things in such a short period of time. I also wondered if I could continue making music...but I had the support of my friends and the band to be there with me." When asked about his favorite food, he says it's pizza!
Este Haim of HAIM: The Haim sisters, darlings of the indie world and a particular favorite of a certain blog director, band together to support Este, who was diagnosed when she was 14. She says that university life was hard on controlling her A1C (a blood sugar average). After almost passing out at Glastonbury 2013, she said: "There is a lot of different factors that go along to treating diabetes, it's exercise, it's diet and insulin. Sometimes I can't exercise because I've spent the last 12 hours on flights or I'm exhausted or I don't want to exercise." Este's key to managing her A1C is eating a vegan diet.
Jerry Garcia of the Grateful Dead: Ranked 13th in the Rolling Stone's list of 100 Greatest Guitarists of All Time, the musician Jerry Garcia also had Type 2 Diabetes. He had a near-death experience in 1986 when he went into a diabetic coma (often caused by continuous high blood sugars).