popwreckoning

God bless St. Vincent. And God bless Annie Clark, the band’s front-woman and my #1 girl crush, who quietly set up her own equipment before their Feb. 15 show at the Bottleneck in Lawrence. With zero fanfare, the slight, beret-clad lady tuned her guitar and joked with band mates. Minutes later, the same group returned to the now dimly lit stage to a bar-full of applause.

The opener, a Swedish all-percussion duo called Wildbirds & Peacedrums, managed to warm up half the crowd – most lost interest after the first few songs, instead watching the group’s countrymen compete in Olympic skiing on the bar TV.

For those paying attention, Wildbirds were mesmerizing. The female singer/steel drum player transitioned from husky jazz vocals to yelping scat and back again while her drummer/husband backed her up or spurred her on. Throw in occasional tambourine and cowbell and their sound could be described something like “tribal cabaret.” The couple’s final song “My Heart” ended appropriately on the repeated line “You see I’m lost without your rhythm…” Luckily they weren’t lacking in that.

St. Vincent took the stage and flautist (and saxophonist and keyboardist) Evan Smith launched immediately into “Strangers,” the first track from the new album Actor. The band’s latest
material treads the line between delicacy and distortion and “Strangers” with its fuzzy guitar over violin and flute duets is the perfect introduction to this technique. Clark followed it with track two, “Save Me from What I Want,” and Smith traded flute for funk with a switch to the saxophone.

Clark writes and performs songs with an earnest directness that also makes for a charming stage presence. In Lawrence, she shared stories from visits to her older sister at KU – at 16 and under more “dubious” circumstances, the now 27 year old admitted. Later she dedicated “The Bed” to family members in attendance. The anecdotes built an intimacy with the audience that made Clark feel like an old friend. We laughed over the mishaps of youth and cheered advice from her sister: “Never leave college” (though Clark dropped out of Berklee after only three years, understandably, to tour with Sufjan Stevens).

Clark silenced the rowdy audience with a gorgeous solo cover of Jackson Browne’s “These Days,” then rejoined St. Vincent for “Black Rainbow.” The song builds (again, the small/big theme) like a film score with pounding drum and guitar underscored by sinister violin only to come to an abrupt end and some of the loudest audience appreciation of the night – cheers that were renewed when the band next launched into the opening notes to “Marrow.”

St. Vincent’s songs tend to emphasize the instruments that make them unique – the variety of woodwinds or violin. Clark’s skill on the electric guitar could be easily overlooked. To make up for this, there’s “Dig A Pony,” the Beatles cover the band brought out for its encore. I’d seen clips of St. Vincent performing this at other shows, so it was a treat to see live (and by ‘treat’ I mean, it solidified my crazy love for this woman). It’s a perfect choice to demonstrate Clark’s control of her instrument.

The band ended the night with an all-over-the-place experimental version of “Your Lips Are Red,” chockfull of the night’s token distortion. Every band member played his or her own interpretation of the song’s midsection, before Daniel Hart on violin brought the group back together for a haunting conclusion. It was a divine set – worthy of the group’s religious moniker.

Set List:
Strangers
Save Me from What I Want
Laughing with a Mouth of Blood
Actor Out of Work
Jesus Saves, I Spend
Just the Same But Brand New
The Bed
These Days
Black Rainbow
Marrow
The Party
Encore: Dig A Pony
Your Lips are Red

Reviewing this album is bittersweet for me. For one thing, I hate all the hullabaloo that Twilight has brought along with it. It’s taken over so much of the media lately, and I’ve been sick of it since it started. When I saw the list of artists that were contributing to the Twilight Saga: New Moon soundtrack, my heart sank. Not because they were bad, but because they were oh so good, and the fact that they’d jumped on the Twilight bandwagon irked me so much. Secretly, I was hoping that the soundtrack was really really bad.

But I was proven wrong, because it’s so good.

Like, really good.

As of right now, I’m separating the soundtrack from the film, because the soundtrack will surpass the quality of the film no doubt. And I’ll take you through Alexandra Patsavas’ musical masterpiece piece by piece, as it’s the only way I can do it justice.

1. Death Cab for Cutie – “Meet Me On The Equinox”

As far as a Death Cab song, when I first heard this I was a little underwhelmed. But I think they’ve mixed it differently for the final soundtrack, so it’s grown on me a bit. Sure, the hook is a little generic for a Death Cab for Cutie song, but as far as a catchy single to start off the soundtrack, it works really well.

2. Band of Skulls – “Friends”

Track two had a completely different vibe as the songs surrounding it – as it’s more upbeat, and provides a lightness that the soundtrack otherwise doesn’t have. It’s the first of a few very raw sounding tracks on this album, which is something you didn’t get from the first film’s soundtrack. “Friends” isn’t a huge song, but it’s a nice departure from the other big songs on the record.

3. Thom Yorke – “Hearing Damage”

This was the one track I was dying to hear, as I’ve been a huge Radiohead fan for a long time, and it’s hard to criticize Thom Yorke for anything. And yet again, like the song says, Thom, “You can do no wrong… in my eyes.” A great throwback to Eraser from a few years ago, “Hearing Damage” is a dreamy electro track full of ominous synthesizers and tricky drums.

4. Lykke Li – “Possibility”

When I heard that Lykke Li would be contributing a song, I was expecting something similar to “I’m Good, I’m Gone,” for a less intense part of the movie, maybe when Bella isn’t seeing Edward in her head, but this slow ballad is so beautiful. It almost reminded me of “Lover’s Spit” by Broken Social Scene, with the heavy constant piano chord and lo-fi sound.

5. The Killers – “A White Demon Love Song”

This was the only song that didn’t seem to fit so perfectly with the rest of the soundtrack, but that could be the context The Killers bring with them, but I totally dig it as a Killers song. It goes back to Brandon Flowers’ natural crooning vocals without any of the frantic energy he seems to have adopted with Day and Age.

6. Anya Marina – “Satellite Heart”

To tell you the truth, the opening hook to this song sounds so much like another of Marina’s songs “Move You.” But then again, Alexandra Patsavas is also the music supervisor for “Grey’s Anatomy,” which is where I heard “Move You.” But as “Satellite Heart” moves through its verses and choruses, it gets bigger and draws you in more. The violin additions towards the end gave me goosebumps too.

7. Muse – “I Belong To You”

The original version could have easily gone in this version’s place. The remixing didn’t make it any better, nor did it necessarily make it any worse. This is by far the peppiest song on the record, which may mean something that it’s right in the middle. I don’t know, but this song didn’t wow me so much now, mostly because I’ve listened to it so many times since The Resistance came out last month.

8. Bon Iver & St. Vincent – “Rosyln”

Let me tell you, Justin Vernon’s vocals layered with Annie Clark’s and mixed with the understated acoustic guitar and banjo made for the best song on the record. By far. I could listen to it all day. It’s just…wow.

9. Black Rebel Motorcycle Club – “Done All Wrong”

BRMC’s distinctly lo-fi sound here works exquisitely, with the hints of southern rock and blues adds a different kind of sadness to the record, which up until now has lacked the depth that blues can bring. And what’s so ironic is that BRMC was on the season one soundtrack to “True Blood,” another bit of vampire fare.

10. Hurricane Bells – “Monsters”

Similar to “Friends,” “Monsters” is very much an upbeat song, with a hint of hopefulness. As a heavy movie watcher, I think “Monsters” almost sounds like one of those songs that editors layer over a montage, but not a cheesy one. Not quite filler, but not quite a stand-out, “Monsters” is one of the middle-of-the-road songs on the soundtrack.

11. Sea Wolf – “The Violet Hour”

The second happy song in a row, “The Violet Hour” is so dancey you wonder what’s happening in the story where they play this song. It also emphasizes the vocal theme throughout the record – quieter, smaller vocals – which is different from the first soundtrack with Paramore’s Haley Williams’ loud rock-chick vibe and Chester Bennington’s raw shriek.

12. OK Go – “Shooting the Moon”

A typical OK Go song, with Damian Kulash’s soft, dreamy crooning, “Shooting the Moon” is another lighter song on the record. But what makes this song even better is the stark contrast that comes in the last minute of the song with heavy bass and strong distorted guitar riffs.

13. Grizzly Bear – “Slow Life”

Coming off an amazing record, Veckatimest, Grizzly Bear doesn’t lose any of their authentic sound here with the intentionally droning vocals from Beach House’s Victoria Legrand adding to the ominous, woodsy feel of Grizzly Bear’s music. As the song goes on, it builds to the climax which makes it fit perfectly on the soundtrack.

14. Editors – “No Sound But The Wind”

In tandem with their latest release, this marks the beginning of a new period for Editors, losing the heavy Interpol parallels and moving into a rawer, anthemic sound. “No Sound But The Wind” essentially finishes out the record in terms of rock songs, and it is the perfect ending in terms of emotion.

15. Alexander Desplat – “New Moon (The Meadow)”

It’s hard to talk about a classical song in the context of an otherwise indie rock soundtrack, but by itself, this song makes me actually kind of excited to hear the full score. It’s not too long, yet not too short, to give us just the right amount of classical to actually finish off the album.

This went on very long apparently, but hopefully it enlightened you to how awesome this soundtrack is. It moves fluidly through different emotions and different keys it sounds like one of those great mix CDs that you made for your significant other when you were going through a “rough patch.” Even if you hate everything Twilight, give the soundtrack a chance. You won’t be disappointed.

The soundtrack release date has been moved up and will be available Friday, Oct. 16.

New Moon: soundtrack site

While Friday’s staggering lineup kept spirits pumped despite the slosh, Saturday’s sun was a fresh start with bikini tops and fedoras aplenty. We started the day off proper by discovering the backstage VIP Media area, as well as the VIP bathrooms and VIP booze. Kicking ourselves for not discovering this music Mecca when the monsoon hit the day before, we didn’t hesitate to take shade when invited to enjoy a refreshing Grey Goose with Mr. Kool Keith himself. Wrapped in a silvery-sequined-babushka and sporting a deer-in-headlights vibe, Kool Keith, Dr. Octagon, and all of his multiple personalities of dysfunction and smut, mingled backstage with Ice-T who made a special appearance during Keith’s set.  Adrian Grenier chilled out back there before his set with The Honey Brothers, as well as members of My Bloody Valentine…and all their kids.

Lured by the sounds of sweet St. Vincent, we ditched backstage and caught Annie Clark making beautiful noise. It seems as if only she can make distortion seem elegant. Then we moved on to Chairlift, a band which has unfortunately ended up being a bit of a guilty pleasure for me. While I really like their debut, I couldn’t help but feel kind of silly as tweens, in their braided headbands and high-waisted stonewashed short shorts, bum rushed the stage. Maybe it was the iPod commercial (look what happened to Santigold after her Coors commercial) or maybe it’s the fact that there are lots of bands, past and present, making dream pop with a synthesizer and a Brooklyn-based siren doing it a lot better, but I lost interest after the third song and headed over to the Main Stage for My Bloody Valentine, with a brief stop off to check out Neko Case.

I can only describe My Bloody Valentine’s set as a music geek’s wet dream. If you didn’t do your homework, you just won’t get it and I think it’s safe to say many Tool fans played hooky that day. There’s a certain danger to the music. It’s challenging, both physically and mentally. It’s deafening, ear bleeding, soundscape is an almost violent experience, yet there’s something thrilling in the sheer destruction of the sound, something refreshing in the utter obliteration that the music promises.

Crystal Castles hands down stole the night for me. Everyone showed up to see Alice Glass and Ethan Kath blow the big top off All Points West including John Norris and the MTV crew who were broadcasting from the side of the stage. Dear Alice & Ethan: please don’t do a beer commercial no matter what Norris and his ridiculous turquoise skinny jeans tease you with. Wielding a strobe as her weapon of choice, Alice fired and screeched from the top of gigantic booming speakers and revelers gave over to the piercing thrash of electronica’s reigning king and queen. Worship I did.

Educated by Tool as a teen and never having seen them live, I was hungry for a peek at Maynard James Keenan’s mug and wanted to feel the Undertow. Unfortunately, the notoriously private troupe denied photo privileges and Maynard remained cloaked in shadow throughout the entire set. While I understand that graphics and visual art play a large part in the band’s schema, there was definitely an element of disappointment. We came to Jersey to see you, not a video of a stone baby melt into some sort of unidentified arthropod. We rode the subway for an hour and a half, took the stank PATH train, a shuttle, and then walked 1.5 miles in the sulfur-simmering mud to see you.  You. There’s nothing wrong with giving fans what they want. You wanna rock about transcendence? Show Your Bones, like Karen O.

Photos: Dese’Rae Stage

This month and next, NPR will stream in full the forthcoming releases from Camera Obscura, St. Vincent and Jason Lytle as part of their “Exclusive First Listen” series ahead of each album dedicated release date. You can head to www.NPR.org/firstlisten now to listen to Camera Obscura’s My Maudlin Career in full until its release date, April 20th.

Next up, starting on April 20th, you can catch St. Vincent’s Actor. St. Vincent is Annie Clark, also known for playing guitar for Sufjan Stevens and recording with The Polyphonic Spree.

Jason Lytle, of the now defunct Grandaddy, releases his debut solo album, Yours Truly, The Commuter, later this year and NPR will stream it in its entirety beginning May 4th. Until then, you can watch Lytle perform a track from the upcoming album, recorded for NPR Music in March at South by Southwest here.

Complete track listings and album information for all featured records are available at NPR Music, where there are also extensive archives of songs, interviews and reviews of Camera Obscura, St. Vincent and Jason Lytle.

NPR Music introduced its “First Listen” series last year, when the site offered its first pre-release album stream: Bob Dylan’s 2-CD set Tell Tale Signs, followed by Neil Young’s Sugar Mountain and an album from Paul McCartney’s project The Fireman. The impact was tremendous, with hundreds of thousands of webcasts of the albums and individual songs.

NPR: website | first listen

Stop me if you think that you’ve heard this one before: a singer/songwriter branches out from his or her band to release a collection of “solo material.” The inevitable blog buzz builds. Chatter rises about potential turmoil within the group. Some people even celebrate the idea that an artist can finally explore and express new ideas that he or she may not have been able within the confines of a group dynamic.

You hear word about “high profile” producers and collaborators. A killer advance single may even leak that convinces you that you’re really in for something extraordinary. Then the album drops, you pop it in for a listen and it sinks in: This doesn’t sound all that different from the band. It’s nothing new. Individual output from artists as diverse as Thom Yorke, Jenny Lewis, and Siouxsie Sioux over recent years, while far from terrible, has done little to justify its existence outside of the respective bands. To that growing list, we can now add Dresden Doll Amanda Palmer and her Ben Folds-produced, “Twin Peak”- nodding debut, Who Killed Amanda Palmer?.

Perhaps I’m just being too cynical. After all, many of the songs included here are quite good, and most of the highlights actually began as live favorites during the Dolls’ myriad tours, most notably in the lush opener “Astronaut (A Short History of Nearly Nothing),” which now features swelling strings courtesy of Rasputina’s Zoe Keating. Other stand-outs include “Ampersand,” a sobering ballad in the vein of Yes, Virginia’s “Delilah” that once again seems to explore a dysfunctional relationship this time from an internal perspective, and the perky “Oasis,” a single-in-the-making sporting girl-group harmonies, Cars-styled synths and archetypically Palmer-esque lyrics about date rape and abortion.

Indeed, a good deal of these songs would be right at home on any Dresden Dolls album (Maybe, Virginia perhaps?), but that’s the point. Why go through the facade of a solo outing when your best songs originated within the band? Why not record versions of these that include the fierce and propulsive percussion of fellow Doll Brian Viglione? Furthermore, if you insist on asserting your independence, why not choose collaborators that actually challenge your aesthetic and listeners’ expectations in order to make something unique instead of ones that, while undeniably talented, merely encourage and accentuate attributes that were already prevalent in your work?

Ben Folds is in full-on “Brick”-hurling mode here with his production, and while on paper a team-up between him and Palmer sounds like a match made in Heaven, his quirky touches frequently get lost amidst Palmer’s trademark in-your-face melodrama. The one exception where their styles truly come together into something worthy of them is on the sauntering “Leeds United,” a delectable slice of Cabaret swagger complete with swanky big-band trumpets. The other team-ups don’t work nearly as well as they sound like they would. Annie Clark of St. Vincent fame is wasted on the soporific Carousel cover “What’s the Use of Wonderin’?” while East Bay Ray’s guitars add little to the already slight “Guitar Hero.”

Perhaps the only way for an artist to truly shine on his or her own is to cast aside the band altogether. Frank Black wrote some of his most intriguing (if not ultimately satisfying) work post-Pixies, and Björk continues to spin beautifully challenging gold from her Sugarcubes’ straw. But should it really have to come to that before a solo album can take on genuine artistic relevance? Do band artists really have something unique to say beyond their collectives any more or are they simply going it alone to prove that they can? These are questions that deserve answers, and any of those answers would probably be more satisfying in the end than the answer to Who Killed Amanda Palmer? Nobody may have killed her yet, but she’s certainly veering dangerously close to shooting herself in the foot.

Look for Who Killed Amanda Palmer? in stores September 16, 2008.

Amanda Palmer: website | myspace | NYC show review

Written by: Rob Huff