Monday, October 17th, 2005
I found the timing of this Glorious Noise article to be quite interesting, since I am moving in pretty much the exact opposite direction from Jake (author of said piece and GloNoHoncho). While he is abandoning his vinyl in favour of an almost strictly-digital music diet, I have gone from dipping a toe in the analog realm to stepping in up to both my ankles, and liking what I feel.
Unlike him, I don’t have a musical history steeped in vinyl – my folks had a record player (which some of you may remember I unsuccessfully tried to resuscitate earlier this year) and we had some records, but most of my collection consisted of Sesame Street LPs (Bob Sings!) and those Disney storybook/record sets (“When Tinkerbell waves her wand, turn the page!”). There was a smattering of pop music, courtesy of my brother (Abba!), but other than that, my vinyl story begins… this past June, really.
For me, it goes beyond the old argument that vinyl simply sounds better, though it does. It’s somehow more alive than CDs, though that in itself doesn’t override the pragmatic and fiscal realities that will keep CDs my main music medium for the forseeable future. No, I think for me, vinyl offers a sort of bulwark against the increasing intangibility and disposability of music. I download and am sent many MP3s on a daily basis, and I’ll be damned if I ever get around to listening to even half of them – the same probably goes for many of the gigs of MP3s I’ve got on my computer. Similarly, I’ve got over fairly large CD collection which you’d think would make finding something to listen to an easy task. Oft times, it’s the opposite – I’m overwhelmed by the options and can’t pick a damn thing. But with my modest vinyl collection of maybe a dozen pieces? Easy. Plus since I’ve been fairly selective of what I buy on LP, I’m reasonably sure it’s something I’ll enjoy. And if you want me to review something, a sure way to get it listened to is send it on vinyl. I’m just saying.
I like the interactivity of vinyl. Since you can’t get more than 22 minutes or so into whatever you’re doing without having to get up and change records or flip sides (I still believe strongly in the side A/side B album structure), you’re always engaged. If you’re spinning 7″s, that’s all you’re doing. There’s no 100-disc changer or 60GB hard drive that lets you play whatever uninterrupted for days on end, relegating your playlist to background music, to be filtered out and ignored. It’s just you and the music. Handle the sleeves, read the liner notes, examine the art, whatever. In a way, it takes me back to a day when I didn’t have 1200+ albums, and I knew each CD in my collection in-depth and intimitely. Records are truly the ultimate musical fetish object. Even the things that are generally regarded as drawbacks, the careful handling of the record, the cleaning, the maintenance of the turntable – these are all a sort of ritual to me. Communing with the music. Of course I say that now – wait till I have to drop a couple hundred bucks on a new cartridge…
Some days, like this past Saturday, I’ll go vinyl rooting. Take an afternoon and just hit the record shops digging through old vinyl. I don’t usually buy much, if anything. Again, I just like the process of it. Occasionally I’ll find something cool that I inevitably already own on CD, but will buy it anyway if the price is right. I have to stop doing that. I’m actually still trying to figure out how to avoid the whole “buying the same album in multiple formats” thing. I don’t mind rebuying something I already own on CD if the price is right and it’s something I really love, but some restraint is in order. How do you – you being people who similarly juggle formats in purchasing – figure out what to buy and how?
Vinyl-only releases make it easy, I guess. Like The Mountain Goats’ Come, Come To The Sunset Tree, a limited-edition vinyl-only of The Sunset Tree consisting of home-recorded versions of the album. Of course, this issue was so limited (1000 pieces) that I’m not going to find a copy at anything resembling a reasonable price, so that’s moot. But in the future. And while I’m on topic, Sixeyes has a Q&A with John Darnielle and the Mountain Goats are in town at Lee’s Palace tonight. If you don’t have anything else to do on a Monday, go. End aside.
There are also releases that I will decide in advance to get on vinyl. For example, Okkervil River’s Black Sheep Boy Appendix mini-album, out November 22. I want that in LP form if for no other reason than to have this artwork in full-size form. Jagjaguwar has an made an mp3 of one of the Appendix tracks available – thanks to Dreams Of Horses for the pointer.
MP3: Okkervil River – “No Key No Plan”
And finally, I got my copy of Ride’s Going Blank Again on LP in the mail the other day and, well, let’s just say that it’s well-loved. I may take it in to a shop to get properly vacuum cleaned – the crackle on a couple of the sides is pretty harsh. But in general, any suggestions on cleaning vinyl? Are all the commercial cleaning fluids the same, or should I seek out one brand over another? I’ve got the carbon brush thing, but it can only do so much.
But you know, at the same time as I take another step to becoming Steve Buscemi in Ghost World, I’m also thinking that iPods are getting cheap enough that I could see myself getting one in the next year or two, if just to have easy access to music for trips and work. Just watch – before long, I’ll be all vinyl and MP3s, but have no use for CDs.
np – Ride / Smile
Sunday, October 16th, 2005
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Kiss Me Deadly / Misty Medley (Alien8)
Montreal’s Kiss Me Deadly advertises itself as an unlikely marriage of 90s shoegaze and DC hardcore punk, but danceable. The influence of the former is tangible, while the the latter is tenuous (excepting the deservedly hidden track, and that plays more like a joke). Maybe they pay homage by charging a $5 cover at all their shows, because their second album Misty Medley is too upbeat, textured and melodic to owe any royalties to Messrs. McKaye or Rollins. The musical bedrock draws much from 80s British new wave with disco beats and chiming guitars but somehow don’t sound much like all the 80s revivalists currently clogging up the indie scene. This is probably thanks in large part to the elastic and breathy vocals of Emily Elizabeth. Her bandmates also step up to the mic for a few tracks, but it’s her voice that gives Kiss Me Deadly most of their uniqueness and character. I was right when I said earlier this week that I had a good feeling about this disc. Bonus points for the sharp gatefold-esque packaging.
Kiss Me Deadly are at Sneaky Dee’s December 8.
MP3: Kiss Me Deadly – “Dance 1”
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Fine China / The Jaws Of Life (Common Wall)
Someday, I’m going to review a band that sounds classically British and actually IS British. It won’t be today, however, and that band won’t be Fine China. Hailing from that last bastion of Anglophilia, Tuscon, Arizona, Fine China have got the dapper publicity photos, the lisp-like British affectation on the vocals and jingle-jangle guitars seasoned with the occasional dramatic keyboard swell. On first listen, it’s all terribly proper and pleasant, if rather bland and undistinctive. However it becomes more interesting the longer you listen – mostly because the album is heavily backloaded with the good stuff. While the limitations of Robert Withem’s voice become more evident as the album progresses, the songs themselves compensate by improving proportionately. By the end of its run, The Jaws Of Life overcomes a weak start to end up a mildly decent listen. Still, the band might do well to not make their name quite so appropriate and toughen up their sound just a touch.
Either way, full points for the cute website URL.
MP3: Fine China – “Don’t Frown”
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Bill Ricchini (MySpace)
I have to confess to a bit of superficiality – artists who use ply their trade under their own name bug me. Not bug like annoy, but if I’m looking for something to review cold out of my inbox, say, I’m more likely to go give “Thermonuclear Wallpapper Poppets” a spin than “Milt Walters”. Come on, you’re in showbiz! Glam it up a little! That’s not a hard fast rule, though, and it’s a good thing – else I’d have probably let Bill Ricchini’s email fester in the inbox for a good long time. And in doing so, missed out on some terrific pop music. He may hail from Philadlphia, but his heart is firmly in the 60s. Selections from his second album Tonight I Burn Brightly (which features production from Bryce Goggin and percussion from former Luna drummer Lee Wall) are available to stream on his websites, and they’re uniformly excellent bits of lushly arranged, richly sung, beautifully melodic melancholy. Highly recommended.
MP3: Bill Ricchini – “Eugene Hill”
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np – Belly / Sweet Ride – The Best Of Belly
Saturday, October 15th, 2005
Yesterday was a shoegaze kinda day – today, the opposite side of the coin (as far as my musical tastes go). We got some folk, some country, some singer-songwriter, some America(na)… It’s a gol-durned pot pourri.
Scotland On Sunday talks to Gemma Hayes about writing and recording her new album The Roads Don’t Love You on the road in Los Angeles. The album is out October 31 in the UK (cover art). The first single from the album is called “Happy Sad” and you can see the video here:
Video: Gemma Hayes – “Happy Sad” (WMV)
It’s a peppy-ish number, though not as strong at first listen as some of the stuff off of Night On My Side (you can see a couple of the videos from that record here. I heart me some Gemma, and not just for the obvious reasons. Her music is excellent too.
Sarah Harmer will release her new album I’m A Mountain on November 8. It will feature, in Sarah’s own words, “acoustic bluegrass style ditties of mine and some choice covers”. She’ll also be touring the album including a couple of shows at the Harbourfront Centre Theatre on December 2 and 3.
In what might be the coolest thing I’ve heard this fiscal quarter, Neil Young will be the musical guest on Late Night With Conan O’Brien… for a whole week. Neil will appear on the show four nights straight from November 1st through the 4th, certainly performing material from Prairie Wind and hopefully some classic stuff as well. I rarely (read: never) stay up for late-night TV, but may have to make the exception for Neil.
Son Volt to The Chicago Sun-Times – “Don’t call it a comeback, I been here for years – Rockin my peers and puttin suckas in fear…” (via LHB). Dirt Music also has an interview. Jay Farrar and his posse are at the Opera House on Monday to rock the mic.
Boston.com looks at the new My Morning Jacket and likes what it sees (via LHB). Maine Today talks to local boy and MMJ drummer Patrick Hallahan. The Villager and Rolling Stone also have pieces. MMJ are at the Guvernment on Wednesday night, and I think I’m going to be there – not 100% certain, still working that out. You’ll find out Thursday if I make it or not.
Embarking on their largest ever tour in support of Black Sheep Boy, Okkervil River are giving their fans an extra treat – they’re taking requests. Whether this is requests for their own material or Neil Diamond covers, I’m not sure, but whatever the set list ends up being November 7 at Lee’s Palace, I’ll be ecstatic.
Thought Sufjan interviews were all played out? Chart disagrees.
Also from Chart – a chat with The Decemberists’ Chris Funk. After the current tour (which stopped in Toronto Thursday night), they’re off to Europe, taking a vacation and then recording their fourth album with an eye towards a Fall 2006 release.
Local Death Cab coverage, part the second – Chart and The National Post (via Adam Radwanski).
Reuters reports that The West Wing will air a completely live episode November 6 to coincide with the Presidential debate between fictional candidates Jimmy Smits and Alan Alda, and not just once – twice. Once for the east coast and once for the west coast. It’s meant to drum up interest in the show, whose ratings are flagging in its seventh season. I blame the time slot move to Sundays at 8PM after six years more than anything else. I’ve been watching the show religiously since its inception and I’ve already forgotten when it’s on. It’s a shame they chose to mess with it in what is likely its final season – the election campaign storyline that made last season so enjoyable to watch hasn’t flagged this year, and will certainly send the show off on a high note. If anyone’s watching, that is.
np – Okkervil River / Black Sheep Boy
Friday, October 14th, 2005
A little while back, I ordered the Never Lose That Feeling compilation CD from the good folks at Club AC30 in the UK, who are both a club night and record label in the same way that Shimmer is both a floor cleaner and dessert topping. It features a slew of current shoegaze-centric bands covering classic tracks by first-generation shoegaze bands, both big names and small. I was somewhat surprised by how solid it is, even if I don’t know a good number of the coverers or coverees.
Thankfully, there’s a lot more sonic variety than you might expect – it’s not all distortion and reverb. There’s some overly faithful covers (Hello Amusement Parks On Fire vs My Bloody Valentine, Hinterland vs Lush), but there are also some more creative reinterpretations (AmAnSet’s Andrew Kenny turns in a lovely acoustic version of Spiritualized’s “Angel Sigh” and Plumbline’s glacial take on Catherine Wheel’s “Black Metallic”).
Club AC30 is streaming some tracks from the album on their MySpace page. It was just released in North America through Clairecords and is available at Tonevendor, and there are two more volumes to follow. It’s a worthy record, not just because of the nostalgic factor from hearing old favourites redone given respect, but because it also shows there’s lots of new acts not only carrying on the style, but moving it forward into new places.
And speaking of the genre and its forebears, Are You Familiar is undertaking the noble and daunting task of chronicling the history of shoegazing. Parts one, two and three are currently up. I don’t know how many parts there will be, ultimately, but it’ll be interesting reading.
And speaking of Ride, sadly plans for the Ride DVD have been scuttled by the fact that one of the centrepieces of the planned document, the live footage of their triumphant Reading 1992 performance, has been lost by the owners. A contingency plan is being assembled, but that’s still very disappointing. Also, Mark Gardener has released his debut solo album, These Beautiful Ghosts, on which he was backed by his touring band Goldrush. Listen to some of it via this e-card. Gardener will be touring North America this December in support.
And speaking of Andrew Kenny (if you backtrack a few items), he’s told Paste that the upcoming tour in support of Set Free will be the band’s last. They’re not breaking up, just giving up life on the road (though a review in the new Magnet calls the album their “swan song”). AmAnSet is a great live band, it’s a shame they’re giving up that aspect of their music, but that’s all the more reason to see them at the Horseshoe on November 13. Via PrefixBlog.
Billboard has more info on the forthcoming Cat Power album The Greatest, out January 24.
The local media finds an angle on tomorrow’s Death Cab For Cutie show at the Kool Haus. Read pieces from NOW and The Toronto Sun.
Monkey. Kitten. Hulk.
np – various artists / Blue Skied An’ Clear
Thursday, October 13th, 2005
I may have closed the book on the 2005 record release calendar yesterday, but the ’05 concert season’s not dead yet.
Firstly, I have good news and I have bad news. The good news is that the Toronto Calexico/Iron & Wine date has been confirmed for December 9. The bad news is… The Docks. Goddamn, people. I may have to suck it up for this one and go regardless. I can’t think of a less complimentary venue for Sam Beam’s music (besides, say, a monster truck rally – which they could probably also hold at The Docks) but I have faith/blind hope that those two acts could transcend the crappiness of the hall. No tickets info yet, but the Montreal show is costing $26.50, so there’s your ballpark. I’m not worried about it selling out, at least. Sam would have to appear on The O.C as Mischa Barton’s crazed hippie drug dealer boyfriend before they could sell 3000 tickets.
At least going to the show will provide to opportunity to pick up Calexico’s new tour-only CD, The Book & The Canal. It will feature 17 demos, unreleased and live tracks to satiate the masses until their new studio album is out in the Spring. Also, I still haven’t heard Lays In The Reins. I went to Rotate This yesterday fully intending to pick it up on vinyl, but calamity – they were sold out. Maybe I’ll (gasp) download the tracks until I can get the record at the show or find it somewhere else for a decent price. I hear it’s solid, maybe not as sublime as some might have hoped with the talent involved, but pretty damn good regardless.
Other show news – California’s Innaway have been added as support to the Echo & The Bunnymen show at the Carlu November 23. I reviewed their debut album a few months ago, and quite positively so. If I wasn’t already booked for that night, I’d probably be leaning (more) towards going.
Rogue Wave descends like vultures on the Horseshoe November 27. Their new album, Descended Like Vultures (see my clever wordplay?) is out October 25. People are saying nice things about it. I mentioned before that their debut Out Of The Shadow didn’t really do it for me but I should still give the new one a listen, I suppose.
Montreal’s Kiss Me Deadly are at Sneaky Dee’s December 8. I got a copy of their album in the mail last week. Haven’t listened to it yet but I have a good feeling about it. Based on absolutely nothing. The Subways are at the Mod Club December 9. I’m under the impression these guys are big back home in the UK? Flavour of a recent month? And finally, Anglo-Texan outfit The Earlies are at the El Mocambo on December 12.
And if you’re looking for shows in the more immediate future, check out Torontoist.
Say hello to the redesigned Prefix, now with a new hat. And thanks to Prefix for pointing to this SPIN Q&A with Metric.
As if I needed another reason to hate hate HATE local radio station CFNY (I refuse to call them “The Edge”), check this out – a photo gallery of Rob Dickinson’s visit to their station last week. Only they’ve somehow misspelled his name “Simon Collins”. I guess I shouldn’t expect too much from a radio station that trumpets themselves as “New Rock” on their billboards and then list off bands like U2, Green Day, Red Hot Chili Peppers and Lenny Kravitz as evidence of their bleeding edge playlist. Someone needs a molotov cocktail through their window. Update: The fixed the caption. But that doesn’t mean they don’t still suck.
Matador has posted an unreleased Laura Cantrell song for your downloading pleasure.
The Believer puts Salman Rushdie and Terry Gilliam in a room together. Ultimate fighting ensues. Via Largehearted Boy.
So if you’re wondering why today’s post is about an hour and a half later than usual, the answer’s simple – I SLEPT IN. It’s what unemployed people do. Yes, yesterday was my last day at work and now I’m living it up, slacker-style. It’s sweet, I tells ya. Of course, I’m only getting to enjoy it for one day as I’ve got a short-term contract lined up starting tomorrow… But until then? Woot. Sloth city.
np – Explosions In The Sky / The Earth Is Not A Cold Dead Place
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