popwreckoning

Thursday at the Tin Angel down in Old City, Justin Trawick opened the evening with an upbeat folk pop set on guitar while cohort Jean Finstad took his bass lines for a walk on a beautiful upright. The duo treated the crowd to a bit of Virginia (where the pair hail from) with some bluegrass mixed into the set. As he performed his songs about “not love…I’m an unlucky boy,” Trawick was absolutely endearing; he stood with his feet turned in, knees waivering and belting out tunes with a lot of soul and passion. The only thing missing was a tambourine on the last song of his set.

Trawick was recently on the Georgia/South Carolina border recording a new EP so be on the look out for that. You can catch Trawick performing quite a string of shows in and around Virginia and Maryland with a couple dates in California in between. Check out his MySpace for more details.

Justin Trawick

My sole reason for being at the Tin Angel, though I quite enjoyed Justin’s set and am glad to have made it in time to catch him, was Basia Bulat. I first learned of the Canadian when I caught the end of her set opening for DeVotchKa back in May. That night, I bought her February 2008 release Oh, My Darling and have been spinning it almost non-stop since. Needless to say, I was very much looking forward to catching her headline a set.

Basia Bulat

Her smoky voice was a bit raspier than usual as she opened the set with the album’s title track singing, “There are two things I will carry in my pockets at the end / Oh, my darling / You are one of them.” Bulat was joined by brother Bobby Bulat on the drums, Allison Stewart on viola and Mike Javorski on keys and accordion. The four played lively renditions of latest single “In The Night” and “Snakes and Ladders,” both of which the delighted the audience that undoubtedly loved Basia.

On my favorite slow tune “Little Waltz,” Stewart’s viola and Javorski’s piano melody blended to form a warm and inviting harmony as Bulat plucked her acoustic guitar which kept the song light and whimsical. They played an extended version of Oh, My Darling‘s opening track “Before I Knew,” which took me by surprise before I learned an extended version was recorded on the 7″ Touch The Hem of His Garment that I subsequently purchased.

The set also featured beautifully vocalized covers by both Bob Dylan (“You Ain’t Goin’ Nowhere”) and Daniel Johnston (“True Love Will Find You In The End”). Before playing “The Pilgriming Vine,” Bulat mentioned that the song wanted to make her burn houses down, which makes the song’s music video quite appropriate. Despite an aversion to the piece, which she says is written about a crazy person, Bulat and company played it gorgeously and, in my opinion, is totally worth committing arson to hear it live.

Bulat ended the set with another personal favorite, “I Was A Daughter.” As on “Before I Knew,” the entire audience clapped along with the four on stage, which visibly delighted Bulat as she grinned upon hearing the room erupt in her matched claps. The song was beautiful and energetic and the perfect culmination to a magnificent set. Once the band left the stage, Bulat peeked her head around from behind the curtain before coming back out to perform a spirited and very well done old gospel song which she sang a cappella in a stunning display including clapping and stomping.

Mike Javorski

Allison Stewart

The tour is over, but if you get the chance to catch a Basia Bulat show, it is more than worth the cost of the ticket.

Set List:
Oh, My Darling
new song
In The Night
Snakes and Ladders
Little Waltz
Before I Knew (extended version)
new song
The Pilgriming Vine
You Ain’t Goin’ Nowhere (Bob Dylan)
new song
True Love Will Find You In The End (Daniel Johnston)
Birds of Paradise
new song
I Was A Daughter
//
Death Came Creepin’ in My Room

Basia Bulat: website | myspace
Justin Trawick: website | myspace

Having seen Brooklyn now-quartet Violens back in April at North Star Bar (when a 5 piece), I was more than excited to catch the band again last night at Johnny Brenda’s along with locals Ape School and Relay. Ape School opened the show with an indie acid rock and indie pop rock set that, while not groundbreaking music by any means, was entertaining. Front man Michael Johnson often sang in a falsetto as the band played solidly behind him.

After a lengthy set-up, Violens took stage and got down to business. The stage banter was minimal, save for front man Jorge Elbrecht asking if the audience could hear everything OK and later to mention that the band had an EP for sale at the merch table. Their no nonsense approach to playing wasn’t unwelcomed as they rocked hard, playing a tight and high-energy set of hard rocking tunes. Laptop beats flowed forth from a Mac manned by synth player/vocalist Iddo Arad as Violens ended their set with a series of dance jams.

Drummer Kris King tore up his kit with an ever present grin on his face as Elbrecht shredded on the guitar through the urgent dance tunes and inspired an eager fan into a frenzied solo dance party. In the frenzy, bassist Ben Brantley ripped off the strings from his bass and tossed it to the ground in a fervor, astonishing and pleasing the crowd.

Violens only get better with age and has great commercial appeal. Expect big things.

Jorge Elbrecht

Iddo Arad

Ben Brantley

Kris King

Violens Set List:
Already Over
Perceived
Until It’s Unlit
Grey Reigning
Spectator & Pupil
Trance-Like Turn (download)
Doomed
Violent Sensation Descends
Full Collision

Violens: website | myspace | download, watch “Trace-Like Turn” | Green Owl comp | rcrd labl | interview with | April 2008 live review
Ape School: myspace
Relay: myspace

It takes a certain kind of woman to pull off just one name, but New Yorker, by way of South Korea, Nigeria, Sweden, and the UK, Jihae (pronounced “jee-heh”) more than makes it work.

While the likes of Madonna and Cher are completely overexposed, Jihae’s use of her first name surrounds the beautiful and talented songwriter like a shroud of mystery. She’s also a real deal songwriter-cum-musician, rather than a mere entertainer.

Read on as I talk with one of the most creative songwriters and beautiful voices in the industry today.

Jessica, PopWreckoning: Hi is this Jihae?
Jihae: Yes.
PW: Hi, Jihae. This is Jessica from PopWreckoning. How are you doing?
J: Good. How are you, Jessica?
PW: I want to first thank you for taking the time to chat with me for a bit.
J: Thanks for having me.
PW: You’re a native of South Korea — how long did you actually live there for?
J: Till I was 9.
PW: And then you moved all around the world before settling in New York [City].
J: Yes.
PW: How has living in so many geographically and culturally different places shaped you and how you view and write music?
J: I can’t say that it’s shaped how I write and view music, but it’s probably shaped how I view the world. How I think, probably.
I think there’s something very unique… It’s a mind opening thing to be experiencing completely different cultures from Africa to Europe, or any culture anywhere; for you to be in a different society with a different mindset. Experiencing all those differences probably has a lot to do with your make up and your mindset. I think it’s a mind opening thing. Traveling alone is a great thing for everyone. Experiencing other cultures is a good thing.
I can’t say that there’s a direct connection of how I write music and songs, but I can say that it definitely shaped my values and my outlook on life.
PW: Speaking of the difference between writing songs and playing music, I’ve read that you consider yourself a songwriter first and foremost. When did you begin writing songs and what prompted you into taking on the role of the musician?
J: When did I start writing songs? What is it, 2008? About 8 to 9 years ago I started writing poetry. Just writing thoughts down, really; I wouldn’t call them poetry. [laughs] Then once I figured out that it’s something you can pursue…I never even tried to pursue it on a professional level in the beginning at all. I just though, ‘Oh, this is something I can do, try out.’
I got a guitar as a gift from one of my first producers who is Duncan Sheik, he produced my first demo. So I had it and I had to play around with it, otherwise it would go to waste. That’s kind of how it started; it wasn’t planned. I never thought I could pick anything. And still, it’s really like a tool for writing. I don’t consider myself an instrumentalist in any way or sort.
PW: What was it like creating the debut LP My Heart Is An Elephant not really considering yourself a musician?
J: Well, um, it was great! There was about 15 different people on the record…
PW: Yeah, a lot of big names, too.
J: Yeah, it was like a couple of viola players, a couple of violin players. There was some cello in there. I actually grew out of any kind of hesitation or inhibitions because of my lack of technical knowledge. I totally have no problems telling professional musicians how to play their music ’cause they’re playing my music.
I’ll tell them for “Faint,” especially at the end of it, I had the string quartet, I asked them if they could play in such a key that when you see an orchestra play like they’re tuning. It seems like they’re out of tune but they’re about to tune; that kind of haunting, eerie sound. And they would do something and, “Yeah! That’s it!” That’s the way I did it.
The overdubs and layers that came out, I wrote that in my head and put it on the keys. I told the cellist to do it. I was working with one producer who was engineering and recording the whole thing at his apartment in Bushwick in his bedroom and we brought in different people. I spent two weeks in L.A. with Pat McCarthy, who is an amazing producer, and that was something, that was kind of like a grand experience, you know, because he was using the same gear that he had used a couple years previous when he had recorded the last R.E.M. record. Not the current one, the one before.
That was really exciting and it was a little bit different. The most of the time I spent on the record was really a pirate project. I’d get off at 2 in the morning or 3 in the morning and I’m like, ‘Do I take a cab, a gypsy cab or do I get on the train?’ It was kind of a risk, you know?
It was actually really exciting and really fun to finally save enough money to make my own record and it was a great experience. A great learning experience, as well.
PW: Yeah, and it turned out beautifully. Every time I listen to it, it’s so moving and gorgeous.
J: Oh, thank you! Thank you so much.
PW: You’re welcome. I know just last month you released the Afterthought EP which is remixes of 4 songs from the album. How did the idea for that come about and, obviously it was different than producing the actual album, what was the process for that?
J: Well Jeanluc Sinclair is the producer on this EP, who I remixed the whole thing with. He found me on MySpace [laughs], actually. I heard his stuff and we both mutually had respect for each other’s work. We spoke about maybe doing a project together and thought, ‘Why not?’
I was going to get a bunch of different DJs and people to do the remix EP and he started on it. I just loved the direction we were going so I decided to stick to just him instead of trying to get other people involved.
PW: It makes it that much more a cohesive EP. Growing up, you attended a religious boarding in which you weren’t allowed to listen to “secular” music, so you came into a lot of stuff after its time. Who would consider influences that you either try to incorporate into your music or that just got you into playing from songwriting?
J: Well I can’t say that I try to incorporate anyone. I think [with] music, everything’s been done. There are only so many notes and keys and chords and riffs.
I would say that one of my biggest songwriting heroes is Leonard Cohen. And Bob Dylan. Nina Simone. I love the experimental aspects of Brian Eno. I love Meredith Monk. It’s quite vast. And then there’s Talking Heads and the [Rolling] Stones and [John] Lennon.
It’s kind of all over the place. I don’t intentionally, and if I get influenced because of having listened to a Leonard Cohen record at times versus a Tom Waits record — I love Tom Waits — many times, or you know Nick Cave is also one of my favorite songwriters. If it has influenced, me I can’t deny that it has. Directly. Indirectly. To what extent? Who knows.
I guess people can judge if they want to, but I don’t intentionally try to sound like anyone. I think that goes against songwriting, really. The whole point is expressing what you’re feeling and doing it in your own way with all the given notes that you can have. [pauses]
When you write a book, it’s the same thing, you know? Well not the same, obviously. [laughs] It’s very rigorous in the writing process.
PW: I don’t know why I thought of it, but when you mentioned Tom Waits — for any reason, have you heard the Scarlett Johansson cover album of his songs?
J: No. I told her that I would listen to it, but I have not.
PW: Just curious what you thought of it. But that’s neither here nor there. There’s a video art installation that features your music which you also make an appearance in, correct?
J: It doesn’t feature my music, it features me acting out a role of this woman named Angelique Galliano who actually did exist. Somehow the director asked me to do a warm-up vocal exercise. So I’m not doing it, I guess I’m kind of playing a role when I’m doing that and then I’m acting in it.
PW: And you’ve also been in a couple other films; Interview and there’s Transbeman?
J: That was Interview. The installation. Transbeman is an independent film. They approached me to act in it and I really just ended up doing a little walk-in as a singer. I ended up playing myself and they asked me to be a lead in it. It’s something that, I guess, is being edited at the moment. It’s gonna shown in festivals.
PW: Do you have the quote-unquote acting bug? Are you actively pursuing that or it just something you do if it happens to come up?
J: Oh not at all. Only if it really happens to come up. It kind of fell on me years and years ago when they were casting for Memoirs of a Geisha. They had like, 100,000 open calls worldwide and they brought me in and I actually had a contract to play the role of Hatumomo when [Steven] Spielberg was supposed to direct it. But once he pulled out and they changed directors, they changed everything.
So that didn’t work out, but that was kind of the introduction to it. I could’ve really pursued it when that was happening, and I had to choose, really. That was just when I started doing my first demo.
PW: Kind of along the acting lines — the music video for “Black Pearl” is a finalist for the Independent Music Awards. Who came up with the concept for the video and how was it filming? It’s fairly risqué and pretty dark.

[youtube http://www.youtube.com/watch?v=SgQ7qauuSCM]

J: [laughs] Yeah!
[we laugh together]
J: Well, Kevin Thomas is the director, who’s a good friend of mine, who came up with the concept and we collaborated throughout. He had this concept that really worked with the song and it was like a short film project for him. He kind of piggybacked it on this job that he did where all the crew worked for free.
It was really a tough one; I don’t know if you realize that I’m also playing the male character.
PW: Yeah, I saw that. I was really impressed.
J: We had to green screen everything and do six scenes and change makeup. I had to do six scenes twice. It was very tricky the first time. It was a 3 day, 14 hour 3-day shoot. The first time we tried it, it was, “OK, you have to move your head here and your hand can be here.”
To perform it and have the emotion to be mathematically placed was really difficult. It’s amazing what they did with this.
PW: It almost seems seamless. I was watching it and was just like, “Wow.”
J: I did fight with the director about it. I initially agreed sensuality is OK but sexuality I don’t want. I don’t want my first video to have it be about that. So I did fight with him. It’s actually toned down from what he…
PW: Really?! [laughs]
J: Yeah! [laughs] I also fought for my own edit, which I didn’t get.
PW: It was a finalist for the Awards and even though you didn’t get your final edit, it’s very well done. And I think there will be a lot of buzz about it since it is so borderline risqué.
J: [laughs]
PW: Which is good, I mean, it’ll get your name out there even more. It’s good and bad, I guess.
J: Yeah, but you know what? Regardless of what I feel about it because I’m in it, on a level of marketability versus my personal opinion of how it projects me and all that, all that put aside, I think it’s a great piece of art.
PW: You’ve played a lot of shows in New York City, which is where you live, but have you traveled at all or gone on tour? Or do you plan to tour?
J: I do plan to do it. I don’t know if you know, I have my own label. I release everything through my own label in conjunction with an online distribution company. It’s a full time job and I would love to tour the record right away, but at the moment I’m in the studio recording the next album.
PW: Oh, wow, OK.
J: Yeah, and for a tour you need sponsorship. Since I am my one woman label, there is no sponsorship I can give myself for the tour. I’m actually working with someone to propose sponsorship for a tour, hopefully, in the fall. Nothing definite as of yet.
I haven’t chosen not to travel and tour because I didn’t want to. It’s because of budget issues.
PW: Yeah, makes sense. That’s a lot of it. If and when you get to go on this tour, who would you want to tour with you? If you could choose any act, who would you want to support?
J: I would love to open up for Tom Waits. I would love to open up for Sigur Rós.
PW: Oh, they’re great.
J: I think they are so fantastic. I just saw them at Bonnaroo.
PW: Oh, nice. They played a lot of stuff from the new album I guess?
J: Yes! I think it was mostly that. And I’d love to open up for Björk. Thom Yorke… [laughs] anyone whose first name is a “Tom” or ends with an “ork.”

Who else? There’s tons of bands I like. Arcade Fire, I think they’re great.
PW: Yeah, they’re wonderful, too.
J: They’re a great live band. The Raconteurs are great.
PW: I’ve never seen them live, but I’ve heard good things. Along the same lines — what music are you currently listening to? If you have anything to recommend, what you’re listening to at the moment.
J: Yeah! I was just given this CD by Sneak Attack…what’s his name, Arthur?
PW: Joseph Arthur?
J: Joseph Arthur! I think he’s great. I’d never heard of him before. I just got the CD and I just listened to it yesterday.
PW: Is it the Vagabond Skies EP, I think is the latest?
J: Hmm, I don’t know. Let me have a look.
PW: Just curious. We recently got it in, too, and I love it.
J: Oh, where is it? It’s Crazy Rain. I think it’s great.
PW: Yeah, totally. You’ve got a show coming up in New York — who plays with you live?
J: Ogie Bortnik, guitar player. The two producers that are working on the new record, including Jeanluc Sinclair with the laptop and then the producer Yvonne Evangelista is on bass. Then I have a new drummer Randy. And Matt is the rhythm guitarist.
PW: Excellent, good luck with the show! I don’t want to take up anymore of your time, so thank you again and I look forward to hearing the new material!
J: Thanks, Jessica. We’ll leak it to ya!
PW: [laughs] Excellent. Have a good night!
J: You, too. Take care.

Listen to “Simple Man”
[audio http://www.jihae.net/01%20Simple%20Man%201.mp3]

Jihae: website | myspace | youtube | download “Simple Man” | watch “Black Pearl” | Afterthought on iTunes, Amazon

British indie sensation David Ford graced Philadelphia’s World Café Live last night with an astounding headlining set for a rapt audience. His recent live performances in the Philly, opening gigs for Augustana and Sara Bareilles, were outstanding in every way imaginable, so I was more than excited to see a show with only Ford on the bill. Despite its late start (10:30pm) on a Thursday night, Ford filled the upstairs performance space of World Café Live and delivered a one of a kind performance.

The most incredible aspect of Ford’s live performance is his technically perfect ability to play every single instrument on stage simultaneously via looping. The set’s opener “Go To Hell,” first single from the latest record Songs for the Road, displayed Ford’s talent and ability to be a one man band in spite of the number of instruments surrounding him on the stage. (Check out the video for “Go To Hell” to see for yourself.)

As a bit of an ego boost for Philadelphia, Ford lamented that it’s his favorite city and that World Café Live is his favorite building in it. The set was chock full of bumbling British stage banter that was nothing short of endearing, especially as Ford insisted that Philadelphia really is his favorite place and it’s not something he says all the time. “Insincerity doesn’t wash well with me,” he insisted, and it wasn’t hard to believe.

The emotion and intensity with which Ford sings and pounds away on his guitar and, at times, piano is truly moving. It’s impossible to not feel his anguish as his vocals grow fierce and guitar riffs become louder, tortured and wrestled out of the used, 50 year old acoustic Ford plays with. As the force of “Requiem” picked up, my plus one for the evening leaned over and whispered, “he’s even better live!” The volume and stress of Ford’s vocals on “Requiem” distorted the song’s sound, achieving a desired violent and maddening effect to fit in with the song’s devastating lyrics.

On the emotionally daunting “St. Peter,” Ford informed the audience that he’d placed a “thinly veiled insult to your current President” in the song and encouraged the audience to cheer when they picked up on it so that he’d know his song writing wasn’t too subtle. “St. Peter,” Ford went on to explain, was written following a conversation he had with a Baptist in Kentucky who told Ford he wouldn’t get into Heaven. After singing the line against President Bush, (“there is nothing so deadly as the forces of right / Or some fool with a shotgun in a house painted white.”) he paused to announce, “fight the power!” while raising his right fist in the air.

Another, far more politically charged song, followed later in the set. Before he launched into the powerful “State of the Union,” Ford promised the audience, “I’m very pro-American,” even if he’s disillusioned with the country’s current Administration, which inspired the song. “State of the Union” again saw Ford become a maniac on stage, moving from instrument to instrument creating loop after loop so that you’d swear there were at least seven people on stage instead of a lonesome Ford. His political leanings shine through as he pounds away on both his guitar and piano to create a glorious barrage of noise at the song’s dynamic end.

Ford ended the lively set with “Song for the Road” and received a standing ovation as he walked of the stage. No more than a second passed before he literally ran back on stage for a blatantly desired encore. The night officially ended with more of Ford’s signature looping on “Cheer Up (You Miserable Fuck).” Again, Ford encouraged crowd participation, this time singing the “las” that accompanied the song’s chorus. The audience humored him by singing along, but Ford stopped after the first, weak chorus stating, “how very polite. It’s like a room full of angels. I want a room full of satanic demons this time!”

What David Ford wants, David Ford gets. The audience’s next effort at the chorus roared ferociously, filling the upstairs of World Café Live with welcomed cacophony. Shortly thereafter, the lights came up and the radio filled the momentary silence as the encore drew to a close. In spite of the show’s official end, Ford stuck around with stragglers from the audience and conducted a one song sing along with his fans, hanging around to chat afterwards.

more @ flickr

Ford is set to head back to the UK following the next couple of gigs he’s got lined up here in the States (dates below). If you’re within a day’s travel time to either Baltimore or Los Angeles, I strongly urge you to catch David Ford’s live set before he heads back across the pond. You’ll have more than gotten your time and money’s worth.

Set List:
01. Go To Hell
02. I Don’t Care What You Call Me
03. Don’t Tell Me
04. Requiem
05. To Hell with the World
06. St. Peter
07. Katie
08. I’m Alright Now
09. State of the Union
10. Song for the Road
—
Encore:
01. …And So You Fell
02. Cheer Up (You Miserable Fuck)

Tour Dates:
Jul 03 – West Mount Vernon Park / Baltimore, Md.
Jul 10 РHotel Caf̩ / Los Angeles, Ca.

David Ford: website | myspace | live review | interview with

The lovely and oh-so-talented Ms. Esperanza Spalding performed on Letterman last night. Dave sang her praises and said she’s the coolest person to have ever appeared on the show. That’s pretty huge, not to mention totally accurate. Check it out:

[youtube=http://www.youtube.com/watch?v=j7jZCjNz_kQ&hl=en]

Esperanza Spalding: website | myspace | sample “Precious” | sample “I Know You Know” | sample “Fall In”

Bassist, vocalist and composer Esperanza Spalding (whose first name means “hope” in Spanish) creates a beautifully exotic jazz sound over which she croons with the voice walking the line between angel and seductress. With her unmatched instrumental virtuoso and compelling vocals, she’ll undoubtedly challenge and expand your perceptions of jazz.

Having recently released debut album Esperanza on Heads Up, Spalding will bring her sound to the stage this summer (dates below). Tonight, you can catch her performing on “Late Show with David Letterman.” Tune in and/or set your TiVo, you don’t want to miss what is sure to be a beautiful performance!

Tour Dates:
6/07 – Philadelphia, PA/Festival Pier At Penn’s Landing “The Roots Picnic“
6/10 – Los Angeles, CA/Catalina Bar & Grill
6/12 – Oakland, CA/Yoshi’s Oakland
6/26 – Alexandria, VA/Birchmere
7/12 – Copenhagen, DEN/Haveselskabet
7/16 – Pori, FIN/Otava Factory
7/17 – Pori, FIN/Porin Teatteri
7/18/08 – Pori, FIN/Kirjurinluoto Arena “Pori Jazz Festival”
7/19 – Stockholm, SWE/Skeppsholmen “Stockholm Jazz Festival”
8/05 – Buffalo, NY/University At Buffalo
8/06 – Cleveland Heights, OH/Nighttown
8/30 – Detroit, MI/Detroit International Jazz Festival
9/03 – Osaka, JPN/Billboard Live Osaka
9/04 – Fukuoka, JPN/Billboard Live Fukuoka
9/05 – Tokyo, JPN/Billboard Live Tokyo
9/06 – Tokyo, JPN/Billboard Live Tokyo
9/15 – Amsterdam, NET/Bimhuis
9/19 – Bergen, NOR/Sardinen USF
9/20 – Trondheim, NOR/Dokkhuset
9/24 – Copenhagen, DEN/Jazz House
9/25 – Skerninge, DEN/Giant Steps
9/26 – Goteborg, SWE/Nefertiti
9/27 – Stockholm, SWE/Fasching Jazz Club
9/28 – Helsingborg, SWE/Dunkers Kulturhus
10/04 – Falmouth, MA/TBA
10/22 – Rio de Janeiro, BRZ/Marina del Gloria
10/24 – Sao Paulo, BRZ/Auditorio Do Ibirapuera

Esperanza Spalding: website | myspace | sample “Precious” | sample “I Know You Know” | sample “Fall In”

Christine Fellows‘ subtle voice lends itself to the kind of song you perk your ears up to at the café while you’re sipping your too-expensive drink and working on that dissertation about the magical realism of children’s books of the nineties. So, take that statement as you’d like. I personally really enjoyed her latest effort, Nevertheless, and I’m glad to have it in my collection. She has the Mountain Goats‘ seal of approval – she’s toured with them and lead singer John Darnielle has said that she “is writing better songs than anybody else.” So she seems pretty set as is.

It’s refreshing to hear an artist who hasn’t left her love of more traditional sound behind. The songs are, for the most part, melancholy but never hollowly depressing. The first track, “Let Us Have Done With The Umbrella Of Our Contagion,” has way too long and pretentious a title for me, but it’s pure instrumentals and it’s a fantastic introduction to the album. Many of the songs that follow it have similar sounding instrumentals but have vocals to break them up. The music is kind of Tim Burton-y and even a little Tori Amos-y, if I’m hearing it correctly, which isn’t to say that those are two things I hold in the utmost highest regard, nor would an indie musician, but Fellows makes it work for her.

Nevertheless is a really nice album to listen to. A lot of the songs remind me why I got so into music in the first place, at least as into it as someone who can’t sing or play can. “Poor Robin” is campy and complex in the greatest ways possible. “Cruel Jim,” is unforgiving but pretty damn beautiful and I have to appreciate that. The title song and last track of the album is such a complete gem that it’s blinding. “They’re just letting in a little light / They’re just letting in a little air / I don’t care” are some of the best lyrics I feel like I’ve heard in awhile.

So she might not be as quirky-cute as Regina Spektor or as innocent Hollywood as Jenny Lewis, but she is an equal talent and sings with just as much vigor and honesty as those two or any other artist. There was not one moment when these intricately woven and cleverly executed songs let me down or lost any of their depth. And while I haven’t seen her live, these songs are begging to be played to an audience of music-hungry fans and that is something that I really truly appreciate. Definitely pick up Nevertheless, available now, and have some fun with it; it’s really easy to get into, I promise.

Christine Fellows: website | myspace

by: Jimmy

New York experimental indie outfit Violens will open for the likes of Grizzly Bear and MGMT on select dates this summer. MGMT asked Violens to join them on the road following Violens front man Jorge Elbrecht’s remix of the MGMT single “Time To Pretend.” On June 5th, they’ll headline a Mercury Lounge show with friends Chairlift and Project Jenny, Project Jan for Mixel Pixel‘s CD release show.

Violens recently released their critically acclaimed new single “Trance-Like Turn” on The Green Owl Records Comp: A Benefit for the Energy Action Coalition. Their contribution is featured among tracks by other notable artists such as Feist, Muse, Deerhoof, Bloc Party, A Place To Bury Strangers and many more. 100% of profits from the album sales will be donated to the EAC, to support their efforts to raise environmental awareness in our community.

Tour Dates:
June 05 – Mercury Lounge ($10/21+) Doors @ 7pm
7:30 Project Jenny, Project Jan
8:30 Chairlift
9:30 Violens
10:30 Mixel Pixel (Record Release)

July 25 – Philadelphia, PA @ First Unitarian Church (w/MGMT)
Aug 11-Washington DC @ Sixth & I Historic Synagogue (w/Grizzly Bear)
Aug 14- Boston, MA @ Museum of Fine Arts (w/Grizzly Bear)
+more to be announced!

Violens: myspace | interview with | live review | download “Violent Sensation Descends”

Photo: Jessica McGinley

My first live experience with DeVotchKa occurred 3 or 4 years ago when I saw them play a free show in New York City at one of series of several concerts put on at the South Street Seaport. A fairly small stage, set up in between the mall and the docked ships, was overpowered by the size and sound of the Denver-based DeVotchKa. Philadelphia’s Theatre of Living Arts, where I was lucky enough to catch the band this past weekend, was much better suited to the band’s wide array of instruments and dynamic sound.

The number of chairs, microphones, monitors and instruments that littered the stage made seem almost impossible that the four members of DeVotchKa, along with upwards of six members from the opening bands who would join DeVotchKa on stage, would be able to all fit up there, let alone move around and play their set. The TLA was packed and by the time Basia Bulat finished her beautiful set, the crowd pushed forward to be nearer their music idols. Bulat’s set was a perfect opening and had the crowd in high spirits, greatly anticipating what was to come.

The audience cheered as DeVotchKa front man Nick Urata (guitar, theremin, bouzouki) took the stage and launched into “Head Honcho” from 2002′s Supermelodrama. They kicked it into high gear with “Basso Profundo” off the current A Mad and Faithful Telling before being joined by members of Basia Bulat’s band on stage, adding cello, violins and the occasional trumpet to the set adding a richness and beauty to DeVotchKa’s amalgamation of Eastern European sound.

Following the energetic performance of DeVotchKa’s most recent single “Transliterator,” a quick lull in sound prompted an audience member to yell, “THAT WAS GREAT!” The comment received approving laughter from the audience encouraging a female fan to shout, “DO IT AGAIN!” Her demand was met with awkward silence until another male in the crowd broke in with, “KANYE SUCKS!” Surprised by the words, Urata stopped dead in his tracks, contemplating the diss with a smirk on his face before saying, “That’s an odd thing to say at a DeVotchKa show.” He paused a moment before following with, “We got nothing against Kanye.” The audience roared with laughter and DeVotchKa began to play as if nothing had happened.

Two of my favorite DeVotchKa songs, “The Clockwise Witness” and “Somethin’ Stupid,” the latter popularized by Frank Sinatra, were played in succession near the end of the set before Urata picked up a bottle of red wine, pulling the cork out with his teeth. He raised the bottle towards the audience and thanked Basia Bulat and Fancy Trash for playing that night before taking a swig from the bottle.

DeVotchKa played each song gorgeously with an intensity and energy that is unparalleled, especially considering its orchestral section was seated for the majority of the set. Jeanie Schroder flitted seamlessly between her double bass and sousaphone while drummer Shawn King tackled the trumpet and accordion with ease. As the set wound down, the audience never once stopped making noise to encouraging the band’s return. The audience was confused to see a guitar tech release two large red curtains into the middle of the stage.

After Urata and company returned, a slight brunette in a sparkling white bathing suit and fishnet thigh highs walked out and took her place in front of the two curtains. She began waving the fabric around as the band played “C’est Ce La” before climbing up the red curtains and performing a wonderful display of acrobatics. Even after countless show, Urata was still enchanted by the antics because his eyes rarely left the brunette beauty in the air.

DeVotchKa performance was nothing short of inspired. I can’t recall of more fantastic show I’ve seen or a better display of musicianship and emotional intensity in a performance. DeVotchKa plays tonight in St. Louis and ends their tour tomorrow in Omaha. If you can make it to one of these shows, don’t hesitate to attend. You’re in for something truly beautiful and amazing.

more photos @ flickr

Set List:*
01. Head Honcho
02. Holland
03. Basso Profundo
04. We’re Leaving
05. Queen of the Surface Streets
06. Luna
07. How It Ends
08. Along The Way
09. Transliterator
10. Undone
11. I Cried Like A Silly Boy
12. The Clockwise Witness
13. Somethin’ Stupid
14. The Oblivion
15. Ranchero

Encore:
01. C’est Ce La
02. Mexican
03. You Love Me

Tour Dates:
May 23th – St. Louis, MO The Pageant
May 24th – Omaha, NE Slowdown
DeVotchKa: website | myspace | A Mad and Faithful Telling review
Anti Records: website

*what the paper setlist said — some titles may not be 100% accurate

Austin outfit My Education will be releasing a new album in June to the delight of Mono, Mogwai and Explosions in the Sky fans everywhere (read: if you like those bands, you’ll love My Education!). This purely instrumental group came together in 1999, self-releasing their debut album 5 Popes, which hit #1 on many college radio stations in the US and sold out its first pressing in December 2003. The album was re-released by Thirty Ghosts Records the next month and UK label Jonathan Whiskey released a 7″ single for “Concentration Waltz.”

In 2005, Thirty Ghosts released the band’s follow-up album, Italian, receiving acclaim from Rolling Stone Senior Editor David Fricke. Now, My Education will release their third effort, an EP/remix record titled Moody Dipper. The new EP saw the departure of bassist Eric Gibbons, who is moving on to pursue a career in fine art. In his place is new bassist Scott Telles and vibraphonist Sarah Norris, joining original member Brian Purington (guitar) as well as Chris Haxstie (guitar), Chris Stelly (drums), James Alexander (viola) and Kirk Laktas (piano) .

In May 2007, My Education recorded the full-length follow-up to Italian, entitled Bad Vibrations. The album was completed in July and is slated for release June 10th, 2008 on Portland, OR imprint Strange Attractors Audio House with a full US tour (dates below) to follow.

Tracklisting:
01. This Old House
02. Arch download
03. Britches Blanket
04. Mother May
05. Aria
06. Sluts and Maniacs
07. Bad Vibrations

Tour Dates:
Jun 7 – Austin, Texas @ Trophy’s
Jun 26 – Live performance on Kut 90.5 (www.kut.org) Austin, Texas (2PM)
Jun 26 – Austin, Texas @ Emo’s – **Bad Vibrations Record Release Party**
Jul 04 – Albuquerque, NM @ Atomic Cantina
Jul 05 – Tucson, AZ @ Plush
Jul 06 – Phoenix, AZ @ Modified Arts
Jul 07 – Los Angeles, CA @ TBA
Jul 08 – Los Angeles, CA @ TBA
Jul 09 – San Francisco, CA @ Hemlock
Jul 10 – Arcata, CA @ Jambalaya
Jul 11 – Portland, OR @ Towne Lounge
Jul 12 – Olympia, WA @ The Voyeur
Jul 13 – Seattle @ Funhouse
Jul 15 – Missoula, MT @ The Palace
Jul 16 – Denver, CO @ Old Curtis
Jul 17 – Lawrence, KS @ Replay Lounge
Jul 18 – Oklahoma City, KC @ the Conservatory
Jul 19 – Dallas/Ft. Worth @ TBA

My Education: website | myspace | download “Arch”
Strange Attractors Audio House: website