popwreckoning

Gossip is a three-piece indie rock outfit from Washington, fronted by Beth Ditto. They released their fourth studio album, Music For Men, this past summer and “Heavy Cross” was the first single released. Their sound is a mixture of vocals that are soul and gospel and music that is funky punk and dance.

Gossip – “Heavy Cross” (watch video below)
Heavy Cross starts off with quiet staccato strums and soft ‘oohs’ from Ditto. Though peaceful, there’s a slight urgency to the music that builds up and eventually breaks through with aggressive guitars and dancey percussion. Ditto’s voice, powerful and diva-esque, carries the entire track, from her whispers to her screams, the music matching all the highs and lows. There’s a touch of synth splattered throughout for a retro feel.

“Heavy Cross” (Yuksek Remix)
Yuksek does the best remix in my opinion. The song is structurally the same though layered with creativity. The first addition is stadium thumps and claps surrounding the staccato and the vocals, eventually Yuksek plays with distortion by adding in electronic and house beats. The result is a quicker more dangerous track.

“Heavy Cross” (Burns Remix)
Similar in structure to the original and Yuksek’s mix, Burns adds his own flavor as a layer to what already exists. His mix is tremendously faster and concentrates on percussion which is a driving force, thick and heavy. He plays with that throughout on different levels. Burns allows for a slower build up in the beginning before bringing all the noise in.

“Heavy Cross” (Fred Falke Remix)
Though not the best, Fred Falke does the most diverse of the remixes, the one that sounds nothing like the original. He strips the original melody and inserts his own, ethereal, light synthesizer sound. Mr. Falke then adds in speed via a thick bass line that snaps around like a rubber band for an original sound. It’s a ligher and faster track, the most appropriate for the dance floor.

Gossip: website | myspace | interview with

Check out Brendan Benson’s new music video for the track “A Whole Lot Better.” It’s a psychotropic three and a half minute performance video that makes very cool use of a kaleidoscope effect and really emphasizes Brendan’s high energy live show. It also features his touring band-mates Brad Pemberton on drums (Ryan Adams), Jared Reynolds on bass (Ben Folds) and Mark Watrous on guitar and keys (The Raconteurs).

Brendan Benson: website | myspace | My Old, Familiar Friend review

As the first part to a tribute to Northwest music, the Showbox lit up Pike Place Friday night with local favorites The Lonely Forest of Anacortes, and Telekinesis and The Globes of Seattle. Just to say how much Seattle loves their locals – even before the doors opened up, the line curled around the block as horse-drawn carriages rode by on the rare rain-free night.

The Globes were up first. Lacking a record deal, but with nothing lacking in the talent department, The Globes were a great way to start the show – bringing in a mixture of shoegazing guitar rock and raw indie pop. Guitarist Kyle Musselwhite provided almost Thom Yorke-like vocals next to lead vocalist Erik Walters’ high-energy wails, bassist Sean McCotter’s low-key vibe and drummer Marcus Ourada’s excellent beats. They were just experienced enough to have the charisma to hold the room, but with just a little more stage time, they’d be just as charming as the two bands that followed. And with their first LP coming out soon, The Globes are one of Seattle’s emerging indie acts that show the promise of what our region has to offer the next few years.

After The Globes’ short half-hour set, Telekinesis came to set up their equipment, with one rare addition. My friends and I were standing right off to the left of center by the stage, and I swore Chris Walla of Death Cab for Cutie was tuning his Rickenbacker. I turned to my friend and asked, “Is that Chris Walla?”

“No, it can’t be. It’s gotta be some guy that looks totally like him.”

“That’s Chris Walla. I’m not kidding. Look.”

And I must tell you; my friend is a diehard Death Cab for Cutie fan, so she of all people should know who and who isn’t Chris Walla. But this time, I was right. Chris joined Michael Lerner (a.k.a. Telekinesis) and his touring band for this one-night Seattle engagement. Just because. Lerner later mentioned Chris as one of the people who was responsible for his record being released. He said that, “He made me write this record.” Signed to Merge Records in early 2009, Lerner has been touring for most of the year with David and Jodie Broecker and Chris Staples as his live band, and the unconventional stage lineup threw me off a bit, but made the night more interesting. Lerner sat at the drumkit as he sang on most of the songs, and the unexpected cameo by Walla excited the crowd like they should be on a Friday night at 10 p.m.

I would have liked to have heard “Awkward Kisser,” just cause it’s such a damn cute song, but Lerner played the lot of the songs off his eponymous debut released in April – a few highlights being “Tokyo,” “Coast of Carolina,” and “Foreign Room.” My sister especially liked “Calling All Doctors,” with its distinctive hook of a repeated “twitchin, twitchin.” There were a couple songs where Lerner got up off the drums and stood with his acoustic guitar by himself while the rest of the band lounged on the floor. “I Saw Lightning” was a perfect example of a Seattle ballad – heartfelt and not overdone. Like one of those songs you can sing to your girlfriend at an open mic and not sound too amateurish.

And I must say how epic David Broecker’s mustache was. It truly was amazing.

Right on schedule, headliners the Lonely Forest graced the stage at just after 11 p.m., right as my feet started to ache. The Showbox had become even more crowded than when we first arrived, which again shows how much buzz this band has gotten with the locals. Lead guitarist and vocalist John Van Deusen actually started off the set with “Can I get a shout out to Anacortes!” and the room threw up their arms and cheered with pride.

The Lonely Forest manages to bring together emotional piano pop with heavy, complex indie rock, without sounding generic in the slightest. Their newest album We Sing the Body Electric, released on Burning Building Records earlier this year, is easily one of the most dynamic and, dare I say, best of the year. Van Deusen, along with guitarist Tony Ruland, bassist Eric Sturgeon and drummer Bradyn Krueger started off the holidays just how they should be – full of vigor. By halfway through their set the Lonely Forest had the whole room jumping to the sound of Ruland’s badass guitar licks and Van Deusen’s weathered voice with tracks from We Sing the Body Electric, “Two Pink Pills,” and “Tomato Soup.” They also played “Soil Silt and Clay,” a track from their first LP, 2007’s Nuclear Winter, a concept album about the world ending and the protagonist’s escape from destruction through space travel.

One of my favorite songs of the night was “They’re On To Something,” a fast and guitar-heavy track with a shy piano line and the perfect beat for the lively crowd to dance around to. But it wasn’t until towards the end of the night where most of the people surrounding me on the teeming floor sang along to “We Sing In Time,” the undeniably catchy pop song with a killer building hook. Once the band stepped off stage, people immediately started shouting for an encore, and as it’s become standard practice, The Lonely Forest walked back out for not one – but two – songs for an encore.

You’d never think that Van Deusen spent time in rehab and Ruland almost died after a stint in the hospital two years ago. But then again, with how much passion The Lonely Forest has both on their record and in a live setting, one has to wonder where they get their fire.

The Lonely Forest: website | myspace

If my beloved Democrats had heard of Reverend Peyton’s Big Damn Band we would probably have a big damn health care package. The band’s latest album the Whole Fam Damnily opens with a blistering country-blues titled “Pay the Bill.” The song should’ve been used in a series of campaigns that would explain the plight that many of us in the Midwest see. Peyton sings it best:

Lord keep me strong/Lord keep me strong

Build my endurance/Build my endurance

I can’t afford the health insurance

Not that the album is all politics. Peyton promptly follows this indictment of our current affairs with “Mama’s Fried Potatoes.” The song blows in with slide guitar and vocals that howl about the wonders of home cooking. Both songs are delivered with an intense passion that fills the whole album. If emotion has ever been recorded it is certainly present on this release—available on CD and vinyl.

The arrangements bely the name Big Damn Band. In addition to the Reverend, present are wife “Washboard” Beezy Peyton on (naturally) washboard and Jayme Peyton on drums and bucket. The three combine on songs that are times at serious (like “Pay the Bill” and “Wal-Mart Killed the Country Store”) and those that seem directly titled for humor, i.e. “Your Cousin’s Cops.”

Few people are gifted with the ability to so clearly state their thoughts, let alone do it across 13 songs. There truly isn’t a weak spot to be found. There is even a great recipe for Persimmon Pudding.

Track Listing:
01. Can’t Pay The Bill
02. Mama’s Fried Potatoes
03. Worn Out Shoe
04. DT’s Or The Devil
05. Your Cousin’s On Cops
06. John Hughes (The Water Tower’s Heart Is Sore)
07. The Creek’s Are All Bad
08. Them Old Days Are Gone
09. Walmart Killed The Country Store
10. I’d Love You Baby
11. Everybody’s Getting Paid But Me
12. What’s Mine Is Yours
13. Persimmon Song

Get more details on the Reverend and his Big Damn Band by clicking here.

Getting together with friends is important: you can catch up, re-acquaint over times gone by, and create new memories. A good split-disc functions in much the same way. Two bands come together to share a common space and, hopefully, create some pretty memorable sounds.

The Sanderlings and The Dashburns have now entered into this familiar territory with the aptly titled The Sanderlings/The Dashburns. Friends for years, the two bands lend three songs each to this split-disc released by Ark Royal Records.

On the disc and at live shows the Sanderlings occupy the Beatles/Apples in Stereo role while the Dashburns fulfill the Rolling Stones/Grifters part—music that utilizes harmonies and  intricate song craft and music that is propelled by energy and rhythm.

The first three tracks belong to the Sanderlings. They open with “Oh Darlin” and “Chicken Pox.” “Oh Darlin” is the poppier of the two while “Chicken Pox” comes through with an epic, tango feel. Both showcase the band rocking through tightly crafted songs with the voices of Josh Evans and Ben Masters skillfully working around lyrics that are at times reminiscent of They Might Be Giants.

The stand out track is “Reptoids.” It opens with a raucous riff and then expounds on the theme of strange reptilian creatures that may or may not control the world. With tight harmonies and lyrical content it is a polished rock ‘n roll spin.

The Dashburns portion of the disc starts with “Second Coming.” The guitars are distorted, creating a layered effect that draws on the sound of Spacemen 3. The vocals are more often screamed than sang, imbuing shoegaze-y songs with the power of the Stooges.

“Scrimshaw” may be the best song for that reason alone; however on “The Wheel” the band goes on a different tangent. They blend two parts of varying tempo to create a solid contrast. The whole thing leads into a closing jam with each band member producing tightly syncopated parts that bring the disc to finish.

Track Listing:
1. Second Coming
2. Scrimshaw
3. Wheel
4. Oh Darlin
5. Chicken Pox
6. Reptoids

The Sanderlings: myspace
The Dashburns: myspace

The year 2009 turned me into an Animal Collective fan in more ways than one. Very early on in the year, I came upon Merriweather Post Pavilion (MPP) after reading about it on one of my favorite blogs, Hipster Runoff. I didn’t listen to it very much after downloading it, mainly because I didn’t “get it.” I didn’t understand Animal Collective at the time. But in May, I caught the second half of Animal Collective’s set at the Sasquatch Music Festival at the Columbia River as I waited for the Decemberists to start, and they mesmerized me. I still didn’t quite understand what it was, but I just knew that I liked it.

After that, I listened to MPP a lot over the summer. And a lot this fall. And Strawberry Jam a lot. And Feels a lot. And Campfire Songs a lot.  So when I heard earlier this fall that Noah “Panda Bear” Lennox,  Davey “Avey Tare” Portner, and Brian “Geologist” Weitz were releasing a new EP to follow-up their January masterpiece, I jumped out of my sneakers.

Fall Be Kind met my highest expectations. Once I got it, I plugged my earbuds in and just listened to it, basking in the all-encompassing sound that Animal Collective banked on with MPP. But what was different with Fall Be Kind was how it dropped the sometimes-frantic energy that made MPP such a good dance album as well as a great album to groove to. Fall Be Kind felt exactly like the cozier, eerier b-sides that they left off of MPP. Fitting for the title, I felt like was literally listening to fall – dark, heavy, peaceful, and at times, dewy.

The EP opened up on the swirling energy of “Graze,” a 5:22-long epic that moves like a carnival ride – the excited anticipation to the long and anxiety-building straightaway to the smile-inducing loops and twists. Animal Collective even used some wicked pan flute to up the fairytale feel. “What Would I Want? Sky,” a track that samples the Grateful Dead’s “Unbroken Chain,” also stays with the bright vibe that “Graze” kicked the EP off with. It isn’t quite as frenetic as the first, but this Fall Be Kind EP moves swiftly from one song to the next. That’s also something that sets this EP apart from MPP – Portner and Lennox’s contrasting vocals and how they harmonize wonderfully. Even with the haunting third track, “Bleeding,” Lennox’s voice is the driving force over the simple and ghostly bass line. The undertones never change, and Lennox’s voice never really changes all that much either. “Bleeding” felt even more like a cut from Lennox’s solo album Person Pitch than an Animal Collective song.

If I had to pick a low-point to the album, but only if I absolutely had to, it would be “On A Highway.”  It didn’t bring as many new sounds to Animal Collective’s repertoire and the repetition that “Bleeding” did so well didn’t quite work as effectively on “On A Highway.” But either way, it’s still awesome, just not quite as awesome as the other songs on the album. The last track on the album, “I Think I Can,” brought this EP full circle – finishing on the twirling xylophone and the overlapping singing by Lennox and Portner. Like a great conclusion to an essay, “I Think I Can” refers back to the introduction to the album. But without being a repeat of “Graze,” “I Think I Can” felt like the zig zag that fit in on top of the big block in Tetris – like it wasn’t originally meant to fit there, but it does anyway.

Since these were tracks compiled together as cuts from MPP, previously recorded BBC tracks and tour favorites, they obviously weren’t crafted together as a cohesive album to begin with, but they still are amazingly cohesive.

I know I’m gushing, but thankfully, I “get” Animal Collective now. If you don’t get them yet, I insist that you listen to them in backwards chronological order, starting with Fall Be Kind and Merriweather Post Pavilion. You’ll get it, and you’ll thank yourself for that.

Track Listing:
01. Graze
02. What Would I Want? Sky
03. Bleed”
04. On a Highway
05. I Think I Can

Animal Collective: website | myspace

Not too long ago, I had the chance to see a private university show of Jack’s Mannequin. This show came shortly after Andrew McMahon‘s solo tour to support the release of Dear Jack. As a result, it was one of the group’s first shows as a full band after that break and while they were a little unpracticed (McMahon said they hadn’t played “Swim” in three weeks as a band even though that is the current single), they had an extra eagerness to their performance and a desire to have some fun during this reunion.

Erin McCarley opened up. The folk rock singer has roots in the Hotel Cafe and as a result, she has a definite Ingrid Michaelson and Sara Bareilles vibe. Joined by friend and musical companion Jamie Kenney on piano, McCarley impressed with her powerful vocals and Kenney provided a great compliment when he harmonized with her.  When “Love, Save the Empty” came up in the set, the predominately female audience filled with your stereotypical “Grey’s Anatomy” fans got excited to hear the song popularized on the show, but I got excited when she took on Suzanne Vega‘s “Tom’s Diner.” She made the song her own in an excellent rendition.

Andrew McMahon is one of my favorite performers. I love how he can make a huge room (in this case a gymnasium), feel like an intimate living room show as if he’s playing for his closest friends. I also love the crazy amount of energy he pours into his set. As his fingers fly across the key, he wraps his legs around the bench and bounces up and down until a final burst of energy causes him to either jump up on the keys or even hit the piano with his chair like he did on “Bloodshot.”

I also love how unique he makes each of his tours. There was a new intro added on “Dark Blue,” “Holiday” began as a solo piece, and I love when he slips into a cover of “U2″ and works bits of “The Mixed Tape” into  “MFEO.”

Though “What Gets You Off” is the supposed “Orgasmanator” of the set, I would say that the audience got a greater high from “Bloodshot” or being rebellious enough to curse at a Catholic school during “Holiday.”

They band graced the crowd with a three-song encore that included their popular cover of MGMT‘s “Kids.” Since it was a school function, it was an early night, but the band gave the audience a complete and fulfilling experience.
Set List:
I’m Ready
Bruised
The Resolution
Miss Delaney
What Gets You Off
Dark Blue
Rescued
Spinning
Holiday From Real
Crashin
Swim
The Mixed Tape
Bloodshot
MFEO
///
Kids (MGMT)
Watch the Sky
La La Lie

Jack’s Mannequin: website | myspace | interview 2009 | @ kegs and eggs | @ midland theatre | @ sokol underground | interview with pt. 1 | interview with pt. 2 | dear jack review

Speaking from the girl who claims The Starting Line as one of her top three favorite bands, I was ecstatic when I heard that Kenny Vasoli was starting a new band after the sad, seemingly abrupt ending of TSL. It’s becoming apparently that a lot of members of bands start new projects simply for the fact that they feel their new sound will not match their previous bands’ i.e. Andrew McMahon (Jack’s Mannequin), Craigery Owens (Cinematic Sunrise), Stephen Christian (Anchor and Braille) and now Kenny Vasoli and Person L.

I have to admit though, after hearing Person L’s debut album, Initial, I was a little hesitant. It was extremely different than the pop-punk, catchy vibe of The Starting Line and I selfishly didn’t know if I was okay with that. Vasoli has changed directions and moved into a more offbeat, groovey folk rock sound. That may sound like a strange combination, but if you have listened to Person L’s first album, Initial, you know that it is difficult to describe their eclectic sound. Their follow up album entitled The Positives continues on the same track, but it’s apparent that this album is a little more radio friendly than their debut. With an album full of one-of-a-kind beats and Vasoli’s passionately unique voice, The Positives is a strong follow up to Initial.

The album is kicked off with the starting track “Hole In The Fence,” a song with a mellow beginning but it explodes into a drum-driven instrumental piece with almost a triumphant feeling to it. It becomes obvious that this album has an underlying theme about change by the 3rd track, “The Positives.” I believe this song resonates the meaning behind Person L the best, quoting Vasoli’s lyrics – “At the risk of sounding like a hypocrite, cause lord knows I’ve changed myself.” “The Positives” is followed up by straight rock and roll tracks “Goodness Gracious” and “New Sensations.” “New Sensations” has a classic 70s rocker feel to it aided by slick guitar breakdowns and the edgy attitude in Vasoli’s voice. The “change” image is presented blatantly with track 9, “Changed Man.” The predominantly upbeat album is brought to a halt with the mellow, eerie melody of “Stay Calm.” The epic “Untitled” quickly displays the fury and positive strain of Vasoli’s voice. His vocals are the definitely driving force behind this very fierce and intense album.

Whether you are a fan of Person L or not, everyone has to agree upon the fact that Vasoli has one of the strongest, most recognizable voices in the business. Although, that is kind of a catch 22 because yes, his voice is amazing on this record, but he was with The Starting Line for so long that now the only thing I think of when I hear his voice is them. It’s hard to get past the pop-punk legacy of The Starting Line. However, I recently saw Person L on tour as an opener for John Nolan, and I was completely blown away by the energy he had on stage. You could initially sense the explosive passion he felt about Person L that I had never really sensed with The Starting Line. I am a self-proclaimed music snob, and this album isn’t exactly my cup of tea, but it is evident that it is a very well put together album, and if you were a fan Initial, you will no doubt love The Positives.

Track Listing:
01. Hole In The Fence
02. Good Days
03. The Positives
04. Goodness Gracious
05. New Sensation
06. Stay Calm
07. Sit Tight
08. Loudmouth
09. Changed Man
10. Pleasure Is All Mine
11. Untitled
12. I Sing The Body Electric

Person L: myspace | Intial review | @ the record bar

Lawrence rockers and brothers Alex and Austin Ward, aka The Noise FM, are hosting a benefit concert, “Noise for Toys,” to help the Toys for Tots organization in Douglas County.

Other local acts From Quiet Arms, Antennas Up, Rhythm & Soul and Avant National Guard will be joining the Noise FM. Toys for Tots will be on-site to accept monetary and toy donations. Ideas for donations are available here.

This is an all ages community event at the Bottleneck with doors at 7:30 p.m. All proceeds will go to Toys for Tots. This is the first year for Noise for Toys, but the group is hoping to make it an annual event. Toys for Tots helps give gifts and toys to needy children in the community.

In the past few years, The Noise FM released Dream of the Attack last December 2008, which you can now download for free on their site (though we still recommend buying it). They played SXSW and appeared on Kansas City’s 96.5 the Buzz. They’ve had a song placed in SBK 09 Superbike Championship for various gaming consoles and a song added to the popular Tap tap Revenge 3 for iPhone.

The Noise FM: website | myspace

Sycamore Meadows, the latest release from Butch Walker, is the only album of his that I don’t own. The only one that I did not run out to the store and buy on its release date or pre-order online. I hadn’t even heard anything off of the record other than the lead single, “The Weight of Her” and I had only heard it once. After hearing him play it in its entirety last week, I have come to the conclusion that I am a complete and total fool. It seems with this record, Walker has finally come into his own.

However, I’m not here to review Sycamore Meadows. We’ve already done that. I’m here to tell you how night 3 of Walker’s Wednesday night residency at the Hotel Café went. And it was lovely. Though it was much more mellow than the previous week (Walker himself even compared the last Wednesday to the effects cocaine and the current Wednesday to the effects of heroin), it was still a treat.

The highlight of the night was Butch’s special guest—his doctor. Apparently after a recent check-up, Dr. Stephen Patt mentioned to Walker that he played a few instruments and consequently spent his night onstage accompanying the show on a multitude of stringed instruments including, but not limited to upright bass and lap steel. It seemed as though there was some difficulty getting Dr. Patt properly amplified, but once he was, his little extras made a big difference.

For his weekly cover, Walker chose the lesser known Patsy Cline classic “I’ve Got Your Picture.” After hearing a gentleman known as “The Hardest Working Man in Karaoke” perform this at a West Hollywood karaoke joint the previous week, the song was fresh in my mind. Walker’s rendition was positively heartbreaking. I will forever be touched by the way his voice and facial expressions lead one to believe that he might actually break down in tears during his ballads, and though the song was not his own, he gave it no less feeling.

The upcoming final Wednesday of Butch Walker’s residency is fast approaching, and I have no clue what to expect. Quite honestly, I don’t think he does either. I can only hope that it’s as captivating and exciting as I’ve known his shows to be in the past. As much as I love low-key, subdued Butch, I love high-energy, interactive and silly Butch more. I’d love to hear a few songs off of Left of Self-Centered, the oft forgotten first solo album, as well as a multitude of Marvelous 3 gems. Hopefully on the last night, Butch will also take time to come out and rub elbows with his fans. I’ve always admired the love and respect he’s given those to spend their time and money coming to see him play. However, the last three weeks, I haven’t once seen him emerge from his “Performers Only” green room and mingle with the crowd. But to be quite honest, if that’s the only real complaint he’s getting from me, he’s doing pretty damn well.

Butch Walker: website | myspace | Sycamore Meadows review | interview with | @ grog shop | @ hotel cafe: night 1 | @ hotel cafe: night 2