popwreckoning

You’ve probably never heard of The Boxer Rebellion. No, not that one. The unsigned band from London. But I’m sure if you check out the new Drew Barrymore and Justin Long flick, “Going The Distance,” you’ll know who they are. Come to think of it, prior to a certain point in 2004, I bet you had no idea who The Shins were. I had never really heard the song “Mad World” by Tears for Fears until 20 years after Gary Jules‘ cover of it appeared in “Donnie Darko.” Nor did I know who Gary Jules was. Did you?

It’s amazing the influence movies and television have over music popularity. Whitney Houston‘s mega-hit “I Will Always Love You” skyrocketed because of “The Bodyguard.” Everyone knows Imogen Heap’s “Hide and Seek” because of Jason Derulo‘s sample of it, but he probably wouldn’t have used it had it not previously gained popularity from it’s appearance on “The O.C.” Perhaps the most perfect example of this is Lisa Loeb back in ’94 on the “Reality Bites” soundtrack. “Stay (I Missed You)” gives her the distinction of being the only artist to ever have a #1 Billboard hit in the US without being signed to a label. The exposure allowed her to be signed to several different labels over the past 15 years, all because Ethan Hawke and Ben Stiller liked her tape.

So what does this mean for The Boxer Rebellion? When asked if there’s any hope for a Loeb-esque Cinderella story, they say that they’ll remain unsigned by choice. Bold, but wise move when you consider the current state of the music industry. Artists signed to major labels make little to no money off of their record sales. By choosing to remain truly independent, they’ve had more success releasing their music on iTunes than they would have had otherwise. So much so that their 2009 release Union was named “Best Alternative Album” by iTunes US (Check out the PopWreckoning review here). They also get to maintain far more control over their music. No Diplo remixes unless they want to. No pressure to write any certain kinds or numbers of songs by any certain date, unless they set the standards themselves.

The movie itself looks promising. A couple has a summer romance in New York City and once they’re forced to part ways, they don’t want to let go and make a go at a long-distance relationship. The cast promises honesty and comedy, and couldn’t say enough great things about The Boxer Rebellion. The band plays an important part in the story for Justin Long’s character. Before an executive from New Line had seen the band play in Los Angeles, the filmmakers were planning to cast actors to play a fictitous band. Director Nannette Burstein claims that the band instantly fit her vision for the movie. “They have such a fresh voice, and their sound is just so cinematic. When I heard it, I could instantly imagine the scenes that their songs would play to.”

The band joins great acts such as Cat Power, Band of Skulls and Passion Pit on the soundtrack, where they contribute three songs written specifically for the movie. Check out the lead single, “If You Run,” as well as the movie. You never know if you’ll find your new favorite band because of a Drew Barrymore flick. It’s not like it hasn’t happened before.

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

The second night of Butch Walker’s month-long Wednesday night residency at Hollywood’s Hotel Café was quite a bit of a party. I’ve lived in LA for close to a year now, but I still get excited at celebrity sightings, and Butch’s collection of famous friends did not disappoint me in the slightest. In attendance that night were Jeremy Piven, Derrick Whibley (of Sum 41 and Avril Lavigne-marriage-drama fame), and not in the VIP section but in the crowd with the rest of us plebians, Alex Solowitz, best known for his portrayal of Mickey Parke in the faux MTV boy band 2ge+her. Damn, I love Los Angeles.

Tonight, Butch would be treating the crowd to a live, stripped-down rendition of The Rise and Fall of Butch Walker and the Lets-Go-Out-Tonites. He played the album straight through, no deviations aside from his usual shtick; references to the ‘97 hit “How Bizarre” by OMC, comparing his riffing and soloing to every Led Zeppelin song that ever existed, while consequently singing “baby, baby, baby, baby!” much like Robert Plant does on every other Led Zeppelin song. You know. The usual.

He did make up for missing a song the previous week, treating us to “#1 Summer Jam,” and resolving to not miss a single song from The Rise and Fall… Pausing for a minute in the musical revelry, he talks about the forgiveness that his hardcore fans give him for his wackiness, refers to himself as being compared to Jason Mraz with tattoos, and tells us how sometimes, he wants to be filthy, stinkin’ famous. And then things happen like the YouTube video of him recording his version of “You Belong With Me” from the previous week, and he gets torn the hell up, and he realizes that he likes his little bubble. And he loves his hardcore fans. It’s good to be loved.

Getting close to the end of the album, Butch pulls out his big political song, “Paid to Get Excited,” and flat out admits that he had no idea what he was thinking when he wrote the album. Or why he wrote a political song. After playing through the first two verses and choruses, he also admits, “I don’t even like this last song! So I’m gonna do something different,” and segues into Dramarama’s “Anything, Anything,” which is a KROQ favorite and absolute staple.

In my mind, that was the cover of the night. However, soon after, Walker busts into Pulp’s “Common People,” and I honestly think I was one of five people in the entire audience who knew the song. Still, as great a song as it is, I’m not sure if it was Butch’s best choice for a cover. Shatner did it better.

Finally, the highlight of the entire night was the unintentional encore. As he’s leaving the stage for the night, someone holds up a cake with a candle in it and the crowd begins singing “Happy Birthday,” as Walker’s 40th birthday was on the Saturday to follow. That just set him off in a rockin’ mood and he did not want to stop. Calling up Hotel Café regular, Jim Bianco, the boys jam a little bit more, treating the crowd to the title track off of Jim Bianco’s latest album, Sing. I will totally and completely admit to loudly singing the harmonies from the crowd on that one. Continuing on, the boys bust out into a cover of Prince’s “Kiss” with Ari Gold himself, Jeremy Piven, joining them on the drum set….sans cymbals and with woodwhacks instead of sticks.

I have yet to be disappointed by one of these shows these month. I know that everything says its sold out, but they’ve been selling a small number of tickets at the door. Come on down and join the fun, and GET THERE EARLY!!!!!

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

The Hotel Café in Hollywood has become known for it’s intimate setting and drawing the greatest singer/songwriter acts in the industry. Butch Walker is no stranger to this kind of setting, nor to the Hotel Café. In the month of November, he’s inhabiting the stage every Wednesday night, playing his solo albums from start to finish.

From the time I re-located to Los Angeles, I had been incredibly eager to go to a show at this now notable venue, and with great luck, it happened to be Butch: an artist I’ve been known to obsess over, following him across state lines for shows. It had been a couple of years since I’d been to a show of his, and my excitement mixed with a bit of nerves, not knowing if I could expect the same dynamic experience I’d been privy to in the past.

I was anything but disappointed. On November 4, Butch Walker treated fans to a performance of his 2nd solo album, Letters. If you’re familiar with the record, you don’t really need to be informed of the setlist. Save for “#1 Summer Jam” and “Thank You Note” he played every track. And fans also needn’t be worried about anything that happens onstage. Walker still possesses all of the talent and humor he always has.

The highlight of the night may have been during “Uncomfortably Numb.” The crowd was delighted with an entirely new arrangement, featuring Butch playing the mandolin (a first for me to see, and I’ve seen him 14 times” and a segue into a cover of Taylor Swift’s “You Belong With Me.” It was also exciting to see him take the one-man-band approach, consistently working a bass drum with one foot and switching between an array of guitars spread over the stage.

And what would a Butch Walker show be without the entire audience softly singing along? Proving that he’s completely aware of this fact, Walker turned the mic on the audience for “Best Thing You’ve Never Had,” letting the crowd sing the entire song while he played, like group-live-band-karaoke. The sing-along spectators also saved his ass at one point, when he couldn’t remember the words that started the ultimate apology song, “Promise.” As he vamped the opening chords, a pensive yet blank look washed over his face as you could see him struggle to remember the lyrics, until a fan audibly prompted, “Well, I fumbled…!” But that kind of slip-up comes off as irrelevant when grading the quality of a Butch Walker show. It’s only remembered as a funny moment and proves how devoted his followers are.

Next week, Butch Walker will play through The Rise and Fall of Butch Walker and the Lets-Go-Out-Tonites. I will be there with bells on, trying not to become my old fan-girl self as he plays all the way from “Hot Girls in Good Moods” to “When Canyons Ruled the City.” And hopefully, you will be too.

Butch Walker: website | myspace | Sycamore Meadows review | interview with | @ grog shop

Many of us are familiar with the brilliance of Andrew McMahon. I, for one, am unsure I would have made it through my freshman year of college without Something Corporate’s Leaving Through the Window album. I can’t tell you the countless times I curled up on my bed during my first semester, missing my friends and family in Michigan as I tried to grow acclimated to my new life in Pittsburgh with “Cavanaugh Park” on repeat. I remember being in awe the first time I saw the band live at Duquesne University, McMahon’s piano drenched in a swirl of blue murals derived from the cover art from North. I have put songs from his first release with Jack’s Mannequin, Everything in Transit, on endless amounts of mix tapes and CDs. When I fell on hard times in Pittsburgh and decided to leave Steel Town for the West Coast, “Swim,” off of the band’s most recent album, The Glass Passenger, was one of the only things that kept me convinced that I’d be ok. Andrew McMahon’s work has always been touching and brilliant and sometimes entirely too adept at hitting you where it counts.

Those of us familiar with his work had also already heard the heartbreaking and heartwarming story of his battle with Acute Lymphatic Leukemia. However, the documentary “Dear Jack” shows it to us in a much more intimate way. Having the fortune of seeing the screening of “Dear Jack” with Andrew’s family and friends, I could not feel more blessed that I got to share the event with the people closest to him. Walking into it, I was sure the film would be a tearjerker, and I wasn’t wrong. But at the end of it all, I realized something. This movie is not a sappy weep-fest. It’s a love story–in more ways than one.

From the very beginning, it’s easy to see that it’s a love story between a boy and his music. Throughout the entire length of McMahon’s battle with ALL, you almost wonder if the disease or the lack of being able to perform is causing him more pain.

It’s a love story between a boy and a girl. Early on, we’re introduced to Kelly, the young woman who would eventually become Mrs. Andrew McMahon. With her sugar-sweet smile and freckles, it’s easy to see why he fell for her. It’s also absolutely heart-wrenching to see journal excerpts declaring how much he misses her as the film details the havoc that touring, the illness, and various other factors wreaks on their relationship.

It’s a love story between a boy and his family. One of the most touching moments in the flick is seeing an incredibly frail and gaunt Andrew pour his heart out in a song written for his sister, “There, There Katie,” just before receiving a bone marrow transplant from her. He states that he was never incredibly close to his family at one point, but they are an ever-present feature in the movie, surrounding him with the love and hope he needs to get well.

Finally, it’s a love story for life. Much of the documentary consists of self-shot camcorder clips of Andrew in the hospital, waxing philosophical, shaving his head, losing his hair to chemotherapy, joking with his family, being with Kelly, and brushing his teeth. All of it a video scrapbook of wanting to remember life, just in case it was taken away from him.

I spoke with Andrew for a moment after the film. He told me it was his first time seeing “Dear Jack” with anyone else. “I felt incredibly exposed,” he says with a nervous smile, his arms folded in, hugging himself. But I guarantee he was also feeling incredibly loved afterward, surrounded by his family and friends (which apparently includes Pauly Shore, I might add), receiving a wealth of hugs, being told how beautiful his story was. I couldn’t agree more. “Dear Jack” is even more touching than anything McMahon has given us with Something Corporate or Jack’s Mannequin. It will easily evoke the desire to begin your own love affair with music, family, life and then some.

“Dear Jack” is now available. Purchase it at jacksmannequin.com.

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

Gossip is currently on tour, rockin’ the country. Last month, Sara had a chat with guitarist Nathan “Brace” Paine and talked about European radio, queers, fat girls, and their newest release, Music for Men.

Sara, PopWreckoning: In an age of music where so many genres are bent and merged, how would YOU classify Gossip?
Nathan Paine, Gossip: God, how would I classify us into a genre? I don’t know, I mean, that’s kind of a hard question. Cuz we enjoy sort of spreading out. I don’t know. How would I classify Gossip? We’re a band.
BOTH LAUGH
PW: Well what I mean is, there is so much music that’s genre bending and merged together. There’s so much music that breaks all the rules. So what would be the best way, for someone who hasn’t heard you guys before, to describe you guys sonically?
NP: Oh jeez. I like to think sometimes that we’re a soul band?
PW: I like that. You don’t have to pick just one genre!
NP: Uhhh…..a soul disco band.
PW: Soul disco! I like that!
NP: Like a soul-disco-pop ticket?

PW: I would have said something similar! I read about you talking about this Suicide Club in Portland?
Nathan: Oh yeah, yeah.
PW: Tell me about it, and why is it illegal?
NP: Umm…Maybe I shouldn’t be talking about that.
BOTH LAUGH
NP: Um well, it’s not that it’s illegal. It’s like an underground spot, in this little illegal warehouse bar. That was a dance club that I did for years in Portland that was like post-punk music and electro and sort of everything.
PW: Any chances of it coming back?
NP: I don’t know! I mean, I would LOVE to, but it’s just…I tour so much it’s hard to sort of set up a proper party, y’know? Cuz you’ve gotta take time to flyer around town, and I’m not there to flyer. But yeah, I love to DJ. I was thinking about doing a new night. So, possibly, yes.

PW: Ok, you were mentioning touring so much. You guys have….Europe has been really good to you guys, yes?
NP: Yes!
PW: Tell me a little bit about that.
NP: Yeah, Europe’s been really good to us and I can never really figure out why. I feel like we approached things the same way over there as we did over here. I don’t think there’s necessarily anything we did different over there. It’s just…people really rallied us from the get-go over there. I don’t really know why. I think, I mean, y’know… Maybe it’s cuz we’re from the South in America and it’s different, y’know? But I don’t know. And y’know the radio over there too is interesting. Cuz in America they say it’s not pay to play. But mainstream radio is COMPLETELY pay to play. And they only stick to certain playlists. The DJs have no power over what they want to play, really. In Europe, like in the UK, on a BBC or whatever, the DJs actually get to pick what they want to play. It can be totally indie, totally independent, or not. I mean, they have a few things they have to play like anything else. But it’s definitely more freedom on the radio over there. So I think that might have something to do with it as well? I don’t know.
PW: Huh. That’s interesting to hear. I didn’t know that about radio in Europe.
NP: Yeah it’s really… I don’t know if you’re familiar with Jon Pill. He’s like the British guy who….
PW: Yeah, I was reading a little bit of Beth’s (lead singer, Ditto) comments on that.
NP: I think he really started something amazing over there with this weird radio thing and playing records you like and that you want to champion that are not popular.
PW: That’s awesome. That’s really awesome. We need more like that over here.
Nathan: Ohhh… We need a Jon Pill so bad.

PW: (Laughing) Um…speaking of your guys’ success in America, you guys, last year, got some exposure from MTV on a couple of spots.
NP: We did!
PW: Did that help build your US fanbase some?
NP: Oh yeah, I remember that. I don’t know. We haven’t really played America since then. We played in Seattle recently and we’re touring in October, so we’ll see.

PW: Ok! You’ve said that nothing has changed for you guys since you broke through. Is that really true? Have there been no major changes at all?
NP: You mean personally, or whatever?
PW: In any way, shape, or form. You said that you guys still live in the same house?
NP: Oh yeah yeah….I do, we do. I mean, well, Beth just bought a house, but there have been a couple changes, but I still really feel like we’re the exact same people. I don’t think it’s effected us really. I mean, we’re on a major [label], so there’s like, y’know…there’s some better treatment or whatever. Like, the tours are cushier. But those are little changes. I don’t think personally it’s affected us really. In our day to day lives, I don’t think we really feel it.
PW: That’s cool that you can remain so grounded around all that.
NP: Yeah, it’s really important to think about, I think. I think we all try to keep ourselves grounded all the time. I think it’s important. To continue to be creative, I think you have to do that.

PW: Yeah, definitely. Speaking of things that are important, you guys have become role models and icons for both the LGBT Community as well as Beth, for plus-size girls everywhere. How does that feel?
NP: I support it 100%. I really think that Beth as this icon for girls as well as the Queer Community…I think it’s really special. She’s something that’s not really seen in the mainstream world and I think that what she’s offering up is really good and interesting and it’s also just about equality. And people say it’s not true, but it’s SO true that there’s fat-phobia in the world. How often do you see fat people on TV? I think there’s a total negativity connected to it. And I love that she’s started to change that and I think that’s amazing.
PW: Yeah that girl has balls.
NP: Yeah…
PW: She really does, I admire her so much.
NP: Yeah, it’s a really powerful statement and I really enjoy being supportive of her and being a part of it with her and the band. I think it’s a beautiful thing.
PW: I love how you use the word “Queer” in reference to the Queer Community, with complete and total pride and without any fear or anything.
Nathan: Yeah, it’s funny…well not funny…because I’m straight and I have so many friends that are gay and part of that community. It’s something that should be – something I don’t think people should be afraid of. We’re living in a time now where differences like that should not matter at all. It’s kind of a ridiculous topic to even be brought up because this shouldn’t even matter.

PW: I agree. How do you guys manage to keep things so simple while still having such a full and heavy sound?
NP: We usually try not to do…like, we’re the opposite of My Bloody Valentine, like, no guitar over-dubs. We try to keep things really simple. Like there’s no over-dubs at all. There’s one guitar line. There’s no over-dubs. There’s no bassline. We try to keep it minimal, that’s really important to us. Over-production can be really irritating to me. Somebody like The Ramones are perfect.
PW: But is there a trick to getting everything to sound so heavy while the instruments are so simplistic? Is it just passion that you guys got in there? What’s the trick?
NP: I don’t know. I guess so. (chuckles).

PW: With your best effort can you describe Music for Men sonically and how it’s different from your previous albums?
NP: Well sonically, it’s the most hi-fi recording we’ve ever done. A lot of thought went into production and mic placement and all that. So its super-well recorded. It’s really clean, pretty crisp. It’s different than other records because on this record I actually play bass and piano and synth, and on our other records it was just guitar. There was no bass or anything really. So it makes a big difference on the record.
PW: Yeah, I’m sure. Do you have any last words for our readers, or your fans, or anyone at all?
NP: Stay tough.

PW: Oh! I have one more question that I completely forgot about!
NP: Ok!
PW: Do you guys have anything that you really want to accomplish that you haven’t yet, thus far?
NP: That I personally want to do?
PW: You personally or as a band….
NP: I’d like to write a book! That would be a fun project.
PW: Yeah! Ok! And stay tough!
NP: Yep. Stay tough!
PW: Nathan, this was great. Thanks so much for your time!
NP: Yeah, I had a lot of fun!
PW: I think it was one of my favorite interviews that I’ve done so far!
NP: Aw! That’s sweet! Thank you!
PW: Yes, thank you!
NP: See ya, Sara!

Gossip: website | myspace