popwreckoning

So call me crazy, but I totally forgot that Dntel was the side project of Jimmy Tamborello. In case most of you don’t know who that is, he’s one half of a little indie band known as “The Postal Service,” with Ben Gibbard of Death Cab For Cutie being the other half. Now to those who did know who Jimmy was, I applaud you! With that being said, Tamborello has released two new EP’s titled After Parties 1 and 2.

Listening to both of these EP’s separately is a bit hard as they both complement each other. After Parties 1 has a mellow feel to it, and works great if you’re in the mood to chill out. It also felt like a Gorgio Moroder soundtrack at times. However, being it only has 3 tracks, it’s really hard to listen to it without wanting more. After Parties 2 is more upbeat and has The Postal Service feel every fan should love. At times, I felt I was listening to The Postal Service, but without Ben Gibbard’s vocals that made Give Up an Indie classic. I also felt elements of Sigor Ros during part one that made the chill out vibe.

Personally, these EP’s should be listened to as a whole as they both complement each other. I found that listening to them separately isn’t as fun as one EP only has 3 tracks and the other has 5. Why this wasn’t released as a full LP is puzzling as I think it would be beneficial. The only thing I can think why Tamborello would do such a thing would be to pull something The Beta Band did later on down the road (ala The 3 EP’s)

Overall, I really dug these EP’s. It brought back great memories of The Postal Service. The only concern I have is that if you do check these out, be sure to listen to them as a playlist on your iPod because listening to them separately takes away all the fun.

Rating: 4 out of 5 (as a whole)

Written by Xander Deccio

Seattle got a special treat Wednesday when the Death Cab for Cutie frontman Ben Gibbard took the Crocodile Cafe for a solo show.

Common to his solo shows, Gibbard whipped out some covers such as a Radiohead song and another cover, which called for a special guest: his wife. Gibbard called actress and She & Him singer Zooey Deschanel up to the stage to help him with the Searchers‘ “I’ll Never Find Another You.” Watch the duet below:

The night also included a performance of a new, untitled ballad about Seattle.

The show was a benefit for Teen Feed.

In my circle of friends it is a running joke that Marco only likes Warped Tour bands. Now there is nothing wrong with that, but there is so much more out there than just that pop punk sound. In an effort to diversify his music tastes, we’ve been trying to get Marco to as many shows as possible. I think after the shock of the genre “gypsy punk,” which can be a bit out there, Marco was starting to be wary of the shows I was taking him to. So I might have tricked him into accompanying me into a particular Record Bar show.

“The Starting Line was quite popular on Warped Tour, Marco. The singer from the band is playing an intimate venue. Plus another singer at this show used to be in Taking Back Sunday. They played Warped Tour, too!”

Marco agreed and it wasn’t until we got him through the door that we told him an itsy confession.

“So, um, Marco. Yeah, these solo projects of these ‘warped tour bands,’ don’t exactly sound like those pop punk bands. The different projects sound nothing alike. In fact, this show might be what you would call ‘indie.’” Marco was nervous, but he stuck it out. And as the first band played, I saw him nodding his head a long with the music.

Mulanix Street Orchestra opened with their brand of folk alternative rock. Perhaps is not quite the best word because when they picked up speed and drummer Jeremy Morton‘s beats carried them to the end of the song, it was edgier than your typical idea of folk rock. Yet singer Erica Fitzgerald had kind of a Nashville sound to her voice giving it that undeniable element. I think many would be surprised that such a mature sounding band was the result of rural Missouri roots. Having formed in Kirksville, they’re a bit rough around the edges, but could definitely go places when they refine themselves just a little.

The hilarious Brian Bonz & The Dot Hongs took to the tiny stage next. I’ve seen Bonz several times in the past year and while I know I can always count on his music to be consistent, his stage banter is always…unique. Bonz is a character…And I don’t say that just because the Dot Hongs and Bonz brought animals masks with them to wear.

“Joining us all the way from the set of ‘Slumdog Millionaire,’ I present to you on bass: Jinda,” said Bonz as he introduced one of his bandmates. If I didn’t know what a nice guy Bonz was and if it wasn’t evident with the band’s interactions and body language that this was in all in good fun, I’d almost be offended, but instead I couldn’t stop laughing.

The stage banter offsets Bonz’ music in a bit a funky contrasting, yet complimentary way. Speaking he can be a bit jarring in his sarcastic humor, but then it switches back to one of his songs and I just chuckle as I see the jaws drop when he begins to sing. I can almost see those little cartoon thought bubbles pop up around people’s heads, “That sweet, croon is from that guy who just used the “F” word a second ago? I don’t believe it.”

I seriously don’t know why Bonz isn’t more popular. The guy doesn’t even need a microphone to carry his voice through the venue. And the dynamics! Dynamic control is so rare in a singer these days, but Bonz will use crescendos and descrescendos like the best of the classic singers.

Bonz invited John Nolan and his wife, Camille, on stage for a song, and while I’m a sucker for the guest bits, I don’t think the guest spots had anything on the brilliant Broken Social Scene cover Bonz wrapped up with. The Dot Hongs left just Bonz alone with an acoustic guitar and his beautiful voice to sing a cover of “Superconnected” that gives the original a run for its money.

Finally it was time for the band I was most eager to see: Person L. First, I’d like to apologize to Kenny Vasoli. I think I kept selling Person L short because I was so attached to The Starting Line and I think I wanted Person L to be a rehash of the Starting Line. But it is not.  Aside from Kenny’s voice being so distinct, there really are no similarities between the two bands. So when the first Person L record came out in August 2008, I didn’t give it its due credit. I even went out to this show half-hoping that he would play a TSL cover, but he didn’t. After watching Person L play, I’m glad he didn’t.

Person L has improved so much and the songs from their new album, The Positives, that just came out on Tuesday, Nov. 17, are much more rocking and solid pieces. I think the debut record got a little too experimental, but this new one is almost like jazz rock. I’m also in love with the idea of double percussionists. It gave the live show an extra depth. I’ve also never seen Kenny give so much energy in a performance. Did he move around as much with TSL? I’m not so sure he did. His stage presence was phenomenal and if Kansas City kids weren’t so scared of touching others and catching swine flu, I’m sure there would have been some moshing.

So if you’re going to this tour expecting TSL, you won’t get it. But you will get Person L and that band does put on a great show that is worth checking out, as is their sophomore album.

Finally, it was time for the headliner, John Nolan. This show was sort of a homecoming for him since he now lives close to Kansas City in Lawrence. Many know him as a former member of Taking Back Sunday and also as the singer of Straylight Run. As a soloish musician (soloish, since his wife, Camille, joins on most of his tunes), he sounds like an acoustic and stripped down Straylight Run. It’s still a different sound and one that is a bit happier, but the transition to Nolan solo side project from his previous band isn’t as drastic as going from something like TSL to Person L. And if you are going to this tour, Nolan does appease the Straylight fans with a few of those songs and looking at set lists from different nights, these are songs for the true Straylight fans and not just the casual “Existentialism” listeners. He also played some of his recent “Collaboration Experiment,” which is available for free download, but the set mostly featured songs from his new solo debut Height.

As I said earlier, this was very stripped down. Camille played keys for many of the tunes, and John played acoustic guitar, but it was really just a spotlight on his voice: his lyrics. The passion, the pain, and much like the lyrics with Straylight, the same brilliant commentary and reflections. However, Straylight lyrics seemed to be more of a global reflection or thoughts on another. “A laundry list of problems doesn’t make you interesting,” and “Tearing out all these open pages / Women and kids of all ages / Millions of men with blank faces /Italicised lies, headlines, bold type.” But with the solo project, comes more personal subject matter and Nolan reflects more on his own actions and behaviors: “I’m consumed by what might have been again and again and again” and the very self-aware “I’m focusing my hate, but it’s hollow, unsubstantiated. / You’re an easy mark, and I just need a target right now. / I can’t face myself. I can’t honestly own up to who I am.”

Just because lyrically, the man can be a bit depressing, don’t think the live show will make you want to go home and cry into your pillow. He pours his pains into the expression of his songs and is quite pleasant and amiable in between them. He jokingly yelled at a girl to come back in the venue when he overheard her drunken friend doing the same. He even promised a dance party to the audience and delivered. After Brian Bonz and the Dot Hongs joined the Nolans for the final two numbers, they burst into a fun jam and goofy dance moves that put a fun cap on the night. I look forward to catching more of Nolan when he returns to Lawrence in December.

Remember my friend Marco at the beginning of this post? I am sure you’re wondering why I chose to tell such a lengthy tale about a friend of mine that you’ll never meet. Because I think sometimes, in our snobby land of music reviews, we automatically assume only our opinion matters and most of the time only an indie band is good, I present you Marco: a guy who likes mainstream music and couldn’t identify Ben Gibbard from a box of crayons. Now put your American Eagle wearing, Target shopping boy in the middle of the ultimate indie show and if you can get him to agree that the bands are good, then you know you have a winner. Marco made it through the show. He even smiled, clapped and bobbed along with the tunes. I’m not sure if he has fully embraced the idea of “indie” yet, but he has embraced these bands. So I ask not that you take my “pretentious views” on this show and trust in Marco. Because even if Marco can agree that this was a good show and these are good bands, then you should be able to agree to that as well.

Death Cab for Cutie‘s frontman Ben Gibbard seems to be all over the  music news outlets these days. First the guy gets attention for his marriage to Zooey Deschanel. Now his band’s getting attention for being  the lead single for the popular “Twilight” series’ next movie “New Moon.” I think his name constantly coming up in half the headlines on my Google Reader was a sign that he needed to be featured on PopWreckoning as well and what better place to feature somebody so in the spotlight than by putting that person under cover?

Give Gibbard a guitar and put him alone on a stage and inevitably the guy slips into some sort of cover song. No matter the original quality of the song, he’ll cover it. Indie or pop, he’s done it all. I’m actually really surprised there hasn’t been a Death Cab cover album yet.

So for this week I bring you the best (or maybe the worst if you don’t have a sense of humor) of Ben Gibbard’s cover songs. He’s done a ton, so look for this to be a multi-parter.

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.Backstreet Boys – “I Want It That Way” (original, 1998)
.“I Want It That Way” (cover, 2001)

Bellingham, WA. If I could go back in time to any show, it would be this tiny show at the 5th Floor Coffeehouse in January 2001 in Bellingham. Gibbard’s local, so it was intimate with family and friends. This was also his first public solo show since Death Cab formed four years prior. The atmosphere was already special. So when Gibbard acts all serious and hypes up this little cover he is about to whip out, it was like the icing on the cake for an already perfect show. A big breath…the anticipation builds…”You are – my fire.” Laughter. Backstreet Boys was not expected, but like I said, this show was a special occasion. This cover isn’t mind-blowing. Gibbard is pitchy in spots. And it is just downright silly that he is playing it off as this great masterpiece of a song that he is covering as a simple acoustic piece. Yet that is the genius of so many of Gibbard’s covers. Musically, they’re nothing too complicated, but he brings such a fun performance to his versions, that they really are treats.

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.Michael Jackson – “Thriller” (original, 1984)
.“Thriller” (cover, 2007)

Gibbard covered this song  at Theater of the Living Arts and I was unsure about including it on here. Michael Jackson’s “Thriller” sounds nothing like this and yet that is exactly what won me over to this cover. Gone are the glossy synth notes that cue Jackson’s “Thriller” so well that you know what it is within two notes before it hits that lovely rolling bass.  Gibbard’s version is definitely that signature Death Cab indie folk sound. He’s managed to strip the Jackson hit into a simple strummed guitar tune. I also am a dork and I think it is hilarious that Gibbard had to read the lyrics off a piece of paper for this and still forgets lines midway through. I find it part of his charm.

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.Avril LaVigne – “Complicated” (original, 2002)
.“Complicated” (cover, 2008)

I’m pretty sure I wanted to shoot myself whenever Avril’s “Complicated” came on the radio in 2002. Her voice was just so nasally and her idea of punk was just so…pop. Not too mention she had that ridiculous intro, “Uh huh. Life’s like this.” Gag me. I guess you could say she was acting on her lyric: “trying to be cool, but looked like a fool.” Then Gibbard comes along and nearly six years later and turns it into a slow, folky number. About 50 seconds in, Gibbard starts chuckling and says, “This is a serious song.” I’m not sure if he is telling that to the audience or a reminder to himself, but either way, it is his personality that makes this song worth the listen. Heck as much as I love his music, the best part is the end when he gives a little commentary on the song, “It’s pretty cut and dry. Complicated? What the hell are you talking about? I like to dress in different clothes.” Aw, Ben. This is why we love you.

Death Cab for Cutie: website | myspace