popwreckoning

I Am Very Far is another step forward for Will Sheff’s band of merry men. Sheff’s music is primarily lyric driven, but for the first time they’ve made what is unquestionably a headphone record. Sheff states his goal for the album as being “to push my brains in places it didn’t want to go.” I’ve yet to figure out the thread tying these songs together, but being an Okkervil River record, it must have one. I’m going to run through most of the songs, so people might get a better feel for it. It rewards careful analysis.

The first track, “The Valley” sounds like Sheff burning what went before. He sings: “slicked back bloody black gunshot to the head. He has fallen in the valley of the rock and roll dead.” The previous OR albums, The Stage Names and The Stand Ins were concepts albums about pop stardom. They were meant to be considered together. This song sounds like Sheff firing a shot across the bow of his previous work, as if to send a warning to the listener that this is something new. The song is a barn burner. It’s slamming drums, clinking piano keys, and intense strings. The song sounds like a person setting a building on fire, and then running around it, while laughing maniacally.

The second song, “Piratess,” starts funky, and stays funky for most of it’s three minutes. There’s a bit of chaos swirling about, but the song manages to keep control. It’s a song about wanting “not to be like them.” The narrator sings about a woman out of control. He tries to control her, tries to suppress her with his insecurities. It’s a little harrowing.

“Rider” begins with a guitar blast, and morphs into a somewhat upbeat song. It’s another one full of pianos and banging drums. There’s a million things going on at once, for most of the songs. It seems to be about the ruins of a relationship, and the general chaos of life.

Track 5, “White Shadow Waltz,” starts with strange keyboards which Sheff sings over. The drums kick, and shortly after, things get strange. The backing track fades out a little, and the singing style changes a little. It’s very disorientating, and very cool. Words can’t begin to cover what’s going on here.

“Haging From A Hit” is a nice little waltz of a love song. It mines territory Sheff has covered before, but in a new way. The line “I lie back on my pillow and ask what her husband is like” immediately reminds me of ‘Maine Island Lovers” From Down The River Of Golden Dreams. Whereas that was an apathetic piece of morbid wonderment told from the point of view of the woman, this is most assuredly a love song. It’s an amazing piece of writing. The first half is the man talking about what he feels like with this woman, the second half is her telling him how she feels with her husband. It’s one of those instant classic OR songs that leaves a lot to ponder.

“Your Past Life As a Blast” reminds me of Big Star for whatever reason. It’s a steady piece of jangle pop, and a fantastically complex love song.

Track 10, “Wake and Be Fine,” is the first single, and another in a long line of incredible Okkervil River singles. It’s a loud spitfire thing, full of fear and falling trees. The video should be seen: http://www.youtube.com/watch?v=iHaCtxW6Vv8

“The Rise” ends things with six minute of piano, and call and response. It’s a mellow ending, but not a happy one. It seems to be about dying, and is kind of the perfect way to end things.

I adore this record. It’s almost as good as Black Sheep Boy in my mind. Okkervil River manages to do something dramatically different with every record. I’ll be dissecting and digesting this for years to come. OR have been one of my favorite bands since 2002, and they rarely disappoint.

Track Listing:
1. The Valley
2. Piratess
3. Rider
4. Lay of the Last Survivor
5. White Shadow Waltz
6. We Need A Myth
7. Hanging from a Hit
8. Show Yourself
9. Your Past Life As a Blast
10. Wake and Be Fine
11. The Rise

Grammy Album of the Year winners the Arcade Fire have announced a late Spring tour of the U.S.

Dates kick off April 9 in Denver and include a Coachella headlining set before the tour concludes with the New Orleans Jazz Fest on May 6.

Joining the Canadian indie rockers will be Local Natives, Explosions in the Sky, Okkervil River and The National. Full dates and support are below.

More information is available on arcadefire.com. And just a fair warning, you had better know who the Arcade Fire is or hipsters will kill you:

Tour Dates:
SAT4/9/2011 Broomfield, CO 1st Bank Center *
MON4/11/2011 Orem, UT The UCCU Center *
WED4/13/2011 Phoenix, AZ Comerica Theatre *
THU4/14/2011 Las Vegas, NV The Joint at Hard Rock Hotel *
SAT4/16/2011 Indio, CA Coachella (Sold out)
MON4/18/2011 Santa Fe, NM Santa Fe Convention Center
WED4/20/2011 Kansas City, MO Starlight Amphitheatre **
FRI4/22/2011 Chicago, IL UIC Pavilion (Sold out) **
SUN4/24/2011 Chicago, IL UIC Pavilion (Sold out) **
MON4/25/2011 Chicago, IL UIC Pavilion (Sold out) **
WED4/27/2011 Indianapolis, IN The Lawn at White River State Park **
THU4/28/2011 Memphis, TN Orpheum Theatre
SAT4/30/2011 Dallas, TX Gexa Energy Pavilion ***
TUE5/3/2011 Austin, TX The Backyard ****
WED5/4/2010 The Woodlands, TX Cynthia Woods Mitchell Pavilion ****
FRI5/6/2011 New Orleans, LA Jazz and Heritage Festival

* Local Natives Support
** The National Support
*** Okkervil River Support
**** Explosions in the Sky Support

If you’re not smiling fifteen seconds into We Live In Rented Rooms by East River Pipe, you have no soul. “Back room deals,” sings F.M. Cornog. “The whole world is built on backroom deals. You better get used to it.” It’s business as usual for Cornog. He’s made a career of singing about the maladies of society. The drifters, the drunks, the homeless drug addicts standing at your favorite off ramp with a cardboard sign. Cornog has been there, which is why he sings about what he does. So have I, which is why I appreciate it. You probably haven’t heard his music, but you should.

The list of musicians that covered his songs is staggering: David Byrne, Okkervil River, Lambchop, The Mountain Goats and others. It’s a sad commentary on the music industry that a musician this talented has gone ignored. Cornog likes it this way, though. He has his wife, his daughter, his dog and a forty hour week job at Home Depot. He’s happy. For a person to come from the kind of lows he has experienced, happiness is a pretty big deal.

Cornog’s gift is stories. “Tommy Made A Movie” is about a guy who sits around in his bedroom making movies inside his head. Cornog says very little about Tommy. All we know is Tommy tries to write, but can’t. He sits around watching porn, and thinks about girls. It’s very, very sad. To the tune of simple keyboards recorded in a home studio I feel my heart breaking.

“When You Were Doing Cocaine” is a simple piano ballad about a guy who let his life get away from him. Cornog sings about what it looked like the guy had, and compares it to the reality. It’s the kind of common life stuff you don’t often hear in pop music. Even The Arcade Fire never have it this dead on. You want to know what life really looks like? Listen to an East River Pipe album.

We Live In Rented Rooms is as good an album as East River Pipe has ever made. This Average Joe making records alone in his bedroom has been responsible for some of the most brilliant songwriting of the last twenty years. Routinely, I put on two or three of his records at a time, lay back, and soak it in.  Buy this album. Then go buy everything else he has ever released. Start with The Gasoline Age, but don’t stop there.

We Live in Rented Rooms is out on February 15.

Track Listing:
1. Backroom Deals
2. Cold Ground
3. Payback Time
4. Summer Boy
5. I Don’t Care About Your Blue Wings
6. Tommy Made a Movie
7. The Flames Are Coming Back
8. When You Were Doing Cocaine
9. Conman
10. Three Ships

We all love a good Columbia River backdrop or acres and acres of open field at our music festivals, but what makes MusicFest Northwest different than most festivals is that it takes places within the city – at all the Portland venues you know and love. It’s not just a celebration of music but also a celebration of Portland in general.

In just under two weeks’ time, Portland’s Pulitzer-Prize-winning alt-weekly newspaper Willamette Week will be hosting its 10th annual MusicFest Northwest, which has grown to be the third-largest indoor music festival in the country.

At no other festival else can you park for free in suburbia, take a light rail downtown, then pick up an orange Tang doughnut (yes, I said Tang), and walk a block down at 1 a.m. to catch The Builders and the Butchers at Berbati’s Pan.

Voodoo Doughnuts and Berbati’s Pan are very conveniently placed literally 125 away from each other. Just a tip.

Because of this indoor, inner city set-up, you won’t have to empty your bank account for festival food, or use smelly port-a-potties. But I’d never expect anything different coming from Portland, with the casual, low-key vibe that I love about it so much.

Here’s what I’m planning on doing, but trust me – with the MAX light rail running at full capacity over the 5-day festival, you’ll have the opportunity to see so much more, whether it be a 21+ show, or an all-ages (AA) show.

Wednesday, September 8^th:

Act: Panda Bear
Time: 10 p.m.
Location: Comcast and opbmusic stage at the Crystal Ballroom

Ever since seeing Animal Collective play live over a year ago, I’ve been holding out for another chance to see any of the guys in a live capacity. To coincide with the release of his highly awaited album Tomboy, Noah “Panda Bear” Lennox will be gracing Portland with his mesmerizing presence on the first night of the festival at the Crystal Ballroom (which has floors with a bit of bounce in them). AA

Thursday, September 9^th:

Act: Ra Ra Riot
Time: 7 p.m.
Location: Nike Sportswear Stage at the Wonder Ballroom

In the past, Ra Ra Riot has opened for such amazing acts as Editors, Art Brut, and Tokyo Police Club, but now as part of their headlining tour for their new album The Orchard, Ra Ra Riot will be taking the stage at the Wonder Ballroom. I’m intrigued to see their unique brand of baroque pop live. Plus if you have time afterward, circle the block to get some pizza at Sparky’s or if you feel more adventurous, Ethiopian at Queen of Sheba.  AA

Act: Ted Leo and the Pharmacists
Time: 9 p.m.
Location: Comcast and KNRK Stage at the Crystal Ballroom

For something with a bit more attitude, you can head back over to the bouncy floors of the Crystal Ballroom for Ted Leo and the Pharmacists. You’re sure to have a good time with these old school punks, and you’ll still have enough energy to go for the rest of the night afterwards. Heck, walk a few blocks down Burnside and you can still browse around Powell’s Books until 11 p.m. AA

Act: The Thermals
Time: 10:30 p.m.
Location: Comcast and KNRK Stage at the Crystal Ballroom
Local darlings The Thermals will have literally released their fifth album two days before when it comes time for their show at the Crystal Ballroom. They’ve been working with Chris Walla again on Personal Life, so I’m anxious to hear what these pioneers of Portland rock of the ‘00s have put together with Mr. Walla. AA

Act: Major Lazer
Time: 11 p.m.
Location: The Roseland Theater

For the most part, I probably won’t be heading to the Roseland too much just because there are so many great bands playing everyone, and it’s already hard to choose. But I’m going to make it a priority to see Major Lazer’s reggae/hip-hop hybrid. You’ll be sure that you won’t see any other act like them at the festival, and as far as I know, there won’t be another chance to see them in the northwest for a while. AA

Act: Justin Townes Earles
Times: 11:55 p.m.
Location: Jack Daniels and opbmusic stage at Berbati’s Pan

Four blocks away, you’ll find yourself back at Berbati’s Pan (and maybe after another round of Voodoo Doughnuts) for the considerably less hyphy Justin Townes Earle. It’ll be the nice way to end the night after burning all your energy at the last show. Maybe you could get a drink and relax to Earle’s mandolin-laden country folk. Earle’s blend of deep-south vintage country is so far from today’s mainstream country that you almost expect someone to be playing a water jug and a washboard.  21+

Friday, September 10^th:

Act: Surfer Blood
Time: 5:30 p.m.
Location: Nike Sportswear Stage at the Wonder Ballroom

As the start of a ridiculously full two-month tour, Surfer Blood will get to bring their beachy indie rock to the Wonder Ballroom. A friend of mine put their song “Swim” on a mix tape for me earlier this year, and ever since I saw Pitchfork give the song spot number 37 on the lost of the 100 Best Songs of 2009, I’ve been wanting to see them play live. Now you have that chance too.  AA

Act: Black Lips
Time: 7 p.m.
Location: Nike Sportswear Stage at the Wonder Ballroom

When going through the list of bands playing at this year’s festival, I immediately put Black Lips on my “list to see,” because of their extensive history, guitarist Cole Alexander’s work with Deerhunter’s Bradford Cox, as well as what I’ve heard of their chaotic stage antics (including nudity, fireworks, band members kissing, and vomiting). AA

Act: Sara Jackson-Holman
Time: 8 p.m.
Location: Ash St. Saloon

Mixing classically-influenced piano, soft and longing strings, and winsome vocals, Portland native Sara Jackson-Holman falls into the ever-growing “melancholy piano songstress” genre, but her smoky voice and strange bent harmonies make her worth seeing. Within a couple blocks of the saloon you could also hit up Esan Thai or Kells Irish Pub for dinner if you like. 21+

Act: People Eating People
Time: 9 p.m.
Location: Mississippi Studios

After the disbanding of her band Mon Frere in 2007, Seattle native Nouela Johnston decided to record some of her own stuff under the moniker People Eating People. Her powerful piano pop will be perfect for one of my favorite venues ever – Mississippi Studios, which was built for musicians, by musicians. It’s located in a residential neighborhood and you can literally park in front of someone’s house. The floor is small, but the wraparound balcony provides just as good a view. 21+

Act: Morning Teleportation
Time: 10 p.m.
Location: Hawthorne Theater

I saw Morning Teleportation in June, and they had the most inexplicably enjoyable set that it’s impossible to explain. Psychedelic, rootsy jam-band, electro-indie rock is one way I could describe it. If you’re still confused, I recommend that you make time to go see them at the Hawthorne Theater. Lead vocalist Tiger uses a Talk Box. That’s worth it enough just to see that. AA

Act: Okkervil River
Time: 11 p.m.
Location: Comcast and KNRK Stage at the Crystal Ballroom

I’m not sure whether or not Roky Erickson will be gracing the stage with Okkervil River in this instance, since they just released True Love Cast Out All Evil with Erickson, but either way, the critically acclaimed Austin band is surely not one to miss. AA

Act: The Tallest Man On Earth
Time: 11:55 p.m.
Location: Toyota Antics and KEXP stage at the Doug Fir

Performing at the most comfortable venue I’ve ever been to, The Tallest Man On Earth will be bringing his bluesy brand of acoustic folk to the Doug Fir. When I first heard Kristian Matsson’s music, I didn’t realize that he was Swedish for awhile, until I eventually got how clever Matsson’s moniker is (people of Scandinavia are predominantly over 6 feet tall). 21+

Saturday, September 11^th:

Act: The Builders and the Butchers
Time: 1 a.m. (yes I just said 1 a.m.)
Location: Jack Daniels and opbmusic stage at Berbati’s Pan

Seeing the instruments that the Builders and the Butchers play, you wouldn’t expect to essentially rock out at one of their shows, but they defy all stereotypes and bring massive amounts of energy to their acoustic guitars, mandolins, and banjos. Seeing that the Builders and the Butchers are from Portland, I’m expecting this particular show to be crazy awesome. Having seen then 2 short months ago, I can back up that claim. 21+

Act: Laura Veirs
Time: 6 p.m.
Location: Levi’s Pioneer Stage at Pioneer Courthouse Square

Laura Veirs will be the first of a few shows that you should absolutely check out on the main stage at Pioneer Courthouse Square. The neo-folk songstress returned to her roots with July Flame this year, her 6^th studio album, putting out hauntingly beautiful songs full of odd instrumentation and Veirs understated vocals. AA

Act: The Decemberists
Time: 7:30 p.m.
Location: Levi’s Pioneer Stage at Pioneer Courthouse Square

I’ll just be sticking around at Pioneer Courthouse Square for The Decemberists after Laura Veirs, because it will surely be one of the best shows of the weekend. Even when they aren’t playing for hometown crowd, The Decemberists are awesome live, but in this instance I can only imagine. The last time I saw them, it was on the Hazards of Love tour, so this time we’ll get to hear songs from all throughout their catalogue. AA

Act: The Globes
Time: 9 p.m.
Location: Backspace

Playing at one of best coffee houses in Portland, Seattle’s own The Globes will be bringing their experimential ambient indie rock to the tiny venue. I saw them play a show in Seattle back in November with Telekinesis and The Lonely Forest, and with how much they downplay the energy, The Globes put on a great show. Think My Bloody Valentine with harder riffs and a rainy-day ready wall of sound. AA

Act: The Head and the Heart
Time: 9 p.m.
Location: Jack Daniels and opbmusic stage at Berbati’s Pan

Bluesy folk with soft harmonies and bubbly beats permeate through Seattle’s own The Head and the Heart’s music, and it should be quite delightful to see them in Berbati’s Pan’s small room. Plus if you haven’t had dinner yet, you can get yourself some Greek cuisine while you’re there. 21+

Act: The Smashing Pumpkins
Time: 10:15 p.m.
Location: MusicFest Northwest and KUFO stage at The Wonder Ballroom

I honestly had no idea that the Smashing Pumpkins were playing until about five days ago, and I’m surprised that they’re playing The Wonder Ballroom, because it’s not that big. So if you want to get in at all, I suggest getting there relatively early, even if you have a wristband, because this will undoubtedly be one of the most attended shows of the festival. I can’t remember the last time they toured, so I’m pumped. AA

Act: Suckers
Time: 11 p.m.
Location: Jack Daniels and opbmusic stage at Berbati’s Pan

What’s funny is that right after playing up against each other at separate venues at MusicFest Northwest, Suckers will be going on a month-long national tour with Menomena. Employing Talking Heads-esque multi-layered vocals with the passion of former tourmates Local Natives, Suckers will definitely fill the small room with fervor. 21+

Act: Menomena
Time: 11 p.m.
Location: Comcast and KNRK Stage at the Crystal Ballroom

I have to be honest, I haven’t listened to Menomena’s new record yet, but Friend And Foe was one of my favorite records of 2007, and it’ll be interesting to see how the band’s eerie experimental indie rock will play out to their hometown crowd. Also, the band members always shuffle around who sings and who plays certain instruments, so that always makes for a more intriguing show. AA

Act: Champagne Champagne
Time: 11 p.m.
Location: Jimmy Mak’s

Seattle hip-hop favorites Champagne Champagne mixes traditional hip-hop with peppier electro-pop, and I love it. Again, I’ll reiterate my normal dislike for hip-hop, but when locals sing and rap about Molly Ringwald, I’m sold. But again, I’ll have a hard time deciding which show to hit up at 11 p.m. 21+

Act: The Dodos
Time: 11:55 p.m.
Location: Jack Daniels and opbmusic stage at Berbati’s Pan

Even though The Dodos are probably best known for having two of their songs in two separate television commercials, their albums are rich with offbeat instrumentation like toy piano and pulsating drums. And you can’t deny that if a band has their songs on television, the songs are undeniably catchy. 21+

Act: Japandroids
Time: 11:55 p.m.
Location: Toyota Antics and KEXP stage at the Doug Fir

Having two guys on stage, you wouldn’t expect them to create the sound that Japandroids manage, but the raw and fuzzy guitars will be a great way to end out the penultimate night of the festival. And while you’re there, definitely check out the restaurant upstairs. Also there’s free parking around the corner, so that’s another plus. 21+

Sunday, September 12^th:

Act: The Walkmen
Time: 6 p.m.
Location: Levi’s Pioneer Stage at Pioneer Courthouse Square

It seems like it’s been way longer than 2 years since The Walkmen put out new music, but this performance will be two days before their new album Lisbon is released, so I’m happy. One of only a select few shows on the last day of the festival, The Walkmen’s drowsy surf rock should carry well through the outdoor amphitheater. AA

Act: The National
Time: 7:30 p.m.
Location: Levi’s Pioneer Stage at Pioneer Courthouse Square

After having seen The National play at the Columbia River Gorge back in May, I was anxious to see them again. Although I think The National is one of those bands that you may or may not like live. Lead singer Matt Berninger has an oddly intense stage presence, but the energy might turn some people off. If you haven’t seen them play live though, I strongly recommend giving them a shot, because they sound fantastic live. AA

However long this preview is, it’s still just a taste of what’s coming to the tenth annual MusicFest Northwest. I mean, I’m going to try to see all these bands, but who knows how full the venues will get or how quick the public transportation will run that weekend? To see the full lineup or purchase tickets, go to http://www.musicfestnw.com. General admission wristbands are still available for purchase that will guarantee entry to all club shows and all shows at Pioneer Square (however you must choose to see either The Decemberists or The National with this ticket). All show wristbands are also still available, which guarantees you entry to all shows, no exceptions. If you don’t wish to purchase a wristband, you can buy tickets at the individual venues the night of the show.

I love Bonnaroo, but it is lucky that it is only four days. I don’t think my body could have moved if it had been a fifth day. Part of the reason for my extra soreness might have been due to sleeping in the car instead of the tent. My camp partner kept moving the tent despite it being five in the morning and in frustration, I just crashed in the car. Seat belts in the back are not much more comfortable than sleeping in the ground. Feeling extra gross, I actually paid the five dollars for a cold shower before I was ready to take on Sunday.

Joshua caught the first act of the day, Cage the Elephant, which he describes as “This generation’s Nirvana.”

Following Cage the Elephant in energy and in craziness was Dillinger Escape Plan. The screaming is not really my cup of tea, but as they climbed over amps, the guys continued to keep their musicianship tight.

We calmed down a bit with the songwriter stylings of Jessica Lea Mayfield. Though really a solo project, her drummer came very close to outshining her.

Another lady rocked our hearts after Mayfield. The buzzed about YouTube queen, Julia Nunes delivered hits and covers on her sharpie-decorated guitar and ukulele. Nunes and her friends whipped out sunglasses to look like true “douches” when covering a “douche” song before playing a cover of 3OH!3‘s “Don’t Trust Me”. After witnessing her humor in person, it is easy to see why she became such a YouTube sensation.

Josh and I again parted ways after Nunes. He had yet to witness the masterful sounds of Andrew Bird‘s whistling and violin playing, so he went to the Which Stage.

Meanwhile, I ventured over to the Other Tent for my first time in the entire festival. The atmosphere there was warm and I don’t mean the muggy Tennessee weather. The people and workers there felt more like a family than the other tent. It probably had a lot to do with the line up there, too. As the bare footed, Brett Dennen, jammed and danced away on stage, it was hard to not feel like you were at a party with your closest friends.

Brett Dennen’s Set List:
Someday
When You Feel It
So Far From Me
San Fran
Darlin
Who Do You Think
She’s Mine
I’m Strong
Heaven
Crazy
Blessed

After Dennen, Okkervil River was next up. Will Sheff really is an amazing songwriter, but I had never really given him credit for his stage presence until this performance. As he passionately gripped the microphone, he danced around the stage.

Josh and I briefly crossed paths as he worked his way over to catch Arizona rockers Dear and the Headlights at the Troo Music Lounge. They’ve been busy on the festival circuit and have their performance down to a science.

I worked my way over to What Stage to catch none other than Snoop Dogg. He was sporting some bling, but his set lacked the usual paraphernalia I had seen with it. Erykah Badu joined him for some numbers, but while everyone else buzzed about that, I could not help getting excited over Snoop’s drummer. With a flick of the wrist the guy was artfully drumming and tossing sticks everywhere. I guess I didn’t give rap and hip hop drummers enough credit, but this guy was better than all the rock drummers I had seen the entire festival.

Band of Horses‘ gentle tunes were warming up the Which Stage as I walked over to see Neko Case. She showed she had a sense of humor by doing a duet with Triumph the Insult Dog.

Josh watched one of the best sets of the festival by Coheed and Cambria. Big hair and tongues wagging, these guys embodied what it meant to be a rock star. I had never seen them with a girl before, but as she picked up some of the higher notes, I soon learned her purpose. Claudio Sanchez has enough on his plate without having to keep up the breath support to do his signature falsetto the entire time. For example, he was busy teaching the audience that it was in fact possible to play an instrument using your hair.

Ending the festival, just as they began it by headlining, was Phish. Phish fans celebrated before their set with a tortilla fight. Then as Phish jammed, one final festival surprise awaited. Bruce Springsteen had stuck around to do a final guest appearance. Since he’s The Boss, Phish played a few Springsteen songs with him before bidding him goodnight and jamming some more. Fireworks heralded the end of the festival and people flocked back to their tents and back to their homes.

Bonnaroo 2009 was a huge success filled with classic and new talent thanks to Big Hassle. While I think I might settle on hotel instead of a camp, I’m excited already thinking about the next year. Here’s to Bonnaroo 2010!

Bonnaroo: website | Day 1 | Day 2 | Day 3 | Of Montreal @ This Tent | Spotted: Drew Barrymore | Quick News 1 | Quick News 2

Photos by: Bethany Smith and Joshua Hammond

In the early 1970’s, the term “singer/songwriter” became synonymous with artists like Joni Mitchell, James Taylor, Jackson Browne and Carly Simon, among others, all of whom just happened to reside in Southern California’s Laurel Canyon. Along with soft-rockers like The Eagles and Fleetwood Mac, these artists wrote intensely personal and lyrically strong pop with shades of folk, rock, and sometimes jazz and country. Their records are meticulously produced: polished, smooth, earthy, and acoustic, and the musicianship was always top notch. Some of these records were phenomenal (Fleetwood Mac’s Rumours, Joni Mitchell’s Blue); some were not, regardless of what Rolling Stones says (James Taylor’s Sweet Baby James, The Eagles’ Hotel California). Times were good. Cocaine, sex and cash flowed freely and the California sun was shining high in the sky. But then came punk rock and the 80s and everything changed.

The last two years, however, have seen an inordinate number of contemporary artists releasing albums hearkening back to the sound and style of those old Laurel Canyon songwriter albums. It’s hard to say when it started or with who, but artists and bands as diverse as Jason Collett, Conor Oberst (aka Bright Eyes), Gonzales (producer of Feist’s The Reminder), Ben Kweller, David Vandervelde, Wilco and She and Him have all recently come down with cases of what I have termed “Laurel Canyon Syndrome”: a desire to recreate in whole or in part the sound of the songwriter-focused soft-rock, folk, alt-country or acoustic music made popular in the early 1970s.

Why? Well, there are numerous possible explanations. Many of the aforementioned artists are now in their 30s (some even their 40s) and grew listening to Fleetwood Mac and James Taylor on the radio, or had parents who would endlessly play their Jackson Browne vinyls while their children unknowingly soaked it all in. For some, those records would come to define what music meant to them. “When you listen to most of the records that really had an impact on you, they always seem to be from a different era,” said Wilco front man Jeff Tweedy in an interview with Pitchfork in reference to Wilco’s last album Sky Blue Sky, and its notable 70s-influenced sound. “I still don’t think that this record sounds as good as that period of music. I still don’t have any clue why. All I’m saying is I feel like we’ve gotten close enough for it to be comfortable to listen to.”1

The Laurel Canyon Syndrome could also be related to the recent indie-folk boom (as seen by the success of Bon Iver and Fleet Foxes last year) in that in both cases modern audiences are turning towards more earthy, acoustic material. “I think it sort of speaks to a larger idea that people are being more and more drawn towards organic sounding music, especially in light of the so-called “digital age”, you know?” said Tony Dekker of Toronto-based folk band Great Lake Swimmers in an interview I did with him for the Dalhousie Gazette. “I think that having music that sounds really organic and that traces its roots back to – not necessarily a simpler time, but something that has been passed on for centuries before the dawn of the recording – I think it allows people to connect with it on a deeper level, I guess.”2

Another possible explanation is that in today’s world of indie rock, for better and/or worse, many bands and artists no longer write songs with the same discipline and emotional resonance with which the Laurel Canyon songwriters debateably represented in its peak form. Jason Collett, in an interview with Scene Point Blank said, “That’s the basic difference. [Broken] Social Scene [note: of which Collett is also a member] tries to take the form of a song and turn it inside out and upside down, I still am attracted to something that’s ultimately a traditional form.”3 In today’s world of indie rock, we don’t have songwriters on the level of Lennon, Townsend, or Dylan: writers who not only knew how to compose a timeless melody, but to accompany it with lyrics that had weight and meaning. Sure, songwriters like Sufjan Stevens and Okkervil River’s Will Sheff may compose lyrically inspired modern semi-masterpieces like Illinoise and The Stage Names, but has either of them – or anyone else of this generation for that matter – composed anything as genuinely moving and foundational as “Won’t Get Fooled Again”, “Imagine”, or “Tangled Up In Blue”?

It seems as though ever since Dylan defined the modern concept of the songwriter in the early 60s, those who want to be taken seriously as songwriters (not musicians, but specifically songwriters) have favored a more acoustic approach that allows people to focus more on the lyrics and less on the rhythm and drive of the music. As things have worked out, many of the serious songwriters of the 60s now sound amazingly dated with the exception of Dylan, Paul Simon and Leonard Cohen. Phil Ochs, Fred Neil, and even Tim Buckley simply sound too troubadour-y for modern tastes, but for some reason “Running On Empty” is still a kick-ass song. So is “Go Your Own Way” and “You’re So Vain” and everything on Court and Spark. Which is probably why we still hear artists trying to replicate the sound of those records. There have always been great songwriters, as there always will be, but it seems as though now, if you want to create an album that’s highly personal, lyrical and earthy sounding, the albums that set the precedent were the ones that came out of Laurel Canyon.

–
Sources:
1 http://pitchfork.com/features/interviews/6602-wilco/
2 http://www.dalgazette.ca/?cmd=displaystory&story_id=2927&format=html
3 http://www.scenepointblank.com/features/105

Photos:
Zooey Deschanel and M. Ward of She & Him (top right and left, respectively): Jessica McGinley
Ben Kweller (center): Bethany Smith
Conor Oberst (bottom left): Dese’Rae Stage

Joshua recently had the chance to interview one of PopWreckoning’s favorite singer/songwriters, Kevin Devine. The guys talked about everything from albums, Brand New and politics. Make sure you check out part I before moving on to part II here:

Joshua, PopWreckoning: I find that you get a large number of people that are drawn to each individual album because each album is so different. Like I know a lot of people that prefer Make the Clocks Move. I find the Brand New people are more drawn to the “Cotton Crush” album [Split the Country, Split the Streets] and it’s nice because the extreme differences between albums definitely has the ability to widen your fan-base which widens your draw and I think it works for you. I don’t think a lot of artists can do it because people cry out. You know this isn’t the sound you normally have, but you haven’t been typecast into a distinct sound.
Kevin Devine: I think it works for me as much in that I get to do what I want and there’s not really a conscious ‘let’s make a rock, let’s make a folk record.’ It’s more like ‘that song should sound like this. This song should sound like this.’ I also think it’s probably what makes the other people in my world’s jobs or lives harder–like the marketing people and A&R people or the press people or the booking agent because I can go on tour with Okkervil River. I can go on tour with Bright Eyes or Cursive. I can do stuff with AA Bondy or whatever. And I do stuff with KT Tunstall and Corinne Bailey Rae and [Rachael] Yamagata and the Hotel Café and with Brand New and Manchester [Orchestra] and whoever else is more in that world.

PW: You hit on a question right there. What audience do you find tends to be more difficult to play for?
KD: Because I don’t fit exactly with anybody, there are great things about it. I love getting in front of a Rachael Yamagata crowd of like 35 year old urban professional people that like Coldplay a lot. I like getting in front of that crowd and I feel like a punk rocker a little bit with some of the things I’m saying or the way I’m saying them.
I also know at those shows there will be a bunch of people that won’t get it and there will be a bunch of people that, well it seems to me that people articulate to me that they do know it’s different and it’s genuine and that’s very meaningful to me. And those crowds are usually respectful and receive music differently than the kids that come see the more emo bands, or whatever you want to call them, that I play with. I don’t think, by the way, I don’t think that whatever that word is, that’s not what I think about a band like Brand New or Manchester, I think there’s a community that’s Colour Revolt, Anathallo, us, Mewithoutyou, Brand New, Manchester, and a couple other people by extension that’s like this weird middle point between what’s happening at Pitchfork and what’s happening at AbsolutePunk.
I blame part of that… well I feel I don’t get 90 percent of what’s happening at either place. So it’s nice to feel something in the middle. Besides that, those kids are really passionate. And when they like you, they’re really passionate about what you do and the hipster people, well it’s rewarding to impress them because they’re hard to impress. So if you play in front of Okkervil’s crowd and they really love what you’re doing, to be fair, my musical taste probably lies closest to those people, but I can’t pick and choose my audience and I certainly wouldn’t want to. It makes things really interesting for me.
That being said, if I could pick my tour, my headlining tour, and you’ve seen this, I’d rather bring Bondy and Jealous Girlfriends and I’d rather bring Jennifer O’Connor and Pablo and I’d rather bring bands that I like whether those kids are going to get it or not. Or whether those people draw anything or not.
I don’t want to bring “name” bands. I don’t want to bring bands I don’t like just cause they’re going to bring out a bunch of people. Plus they won’t ever do it cause you might get your hands caught into doing it, but it’s not my preference.

PW: The thing I enjoyed the most about the shows with the Jealous Girlfriends and the bands you are personally friends with that you brought on, there was an extra level of comfort when you were there and y. You guys were all just interacting and it was very much like the Hotel Café tour where you guys were all getting along and it was a family setting. I really enjoyed that and I think more people should be exposed to that.
KD: Well, that’s what it’s like with Manchester and Brand New, too. Me and Jesse [Lacey] and Brian [Bonz] were on that tour this summer.
We stopped at Lollapalooza to play at the HOB with Brand New and Manchester and then play, watch Brand New at Lollapalooza, and I wound up playing the first two songs of Brand New’s set in front of like 30,000 people at Lollapalooza. I didn’t know that until an hour and a half before the show. That’s killer because not that it would do them any good, maybe like the 5,000 people that don’t like Brand New, but like me would be like,
“Oh, that’s really cool that Kevin played with Brand New,” but way more people are going to be like, “Who’s that dude that Brand New had play their first two songs with them?” And it’s sick that they do that stuff. With Manchester, too, everyone, Jon Corley is playing bass in our band because our bassist had to go home and he was like, “I’ll learn the songs, I’m here.”
I’m lucky as hell that I’m surrounded by people like that across genres. But I also know that it’s not normal and I’m psyched that I’m a part of it. The thing that I think is really special about what I get to do is that I left Brand New’s set and I walked across Grant Park to watch Okkervil and Travis saw me at the side of their stage. Their drummer, and he pulled me out for their last song “Westfall”, I think it’s called, and I sang and played percussion with them in front of 10,000 people all after I had played guitar with Brand New. Now, the critical consensus, Brand New and Okkervil River are two very different things. But they’re not that different actually if you want to talk about why they make music and where it comes from and what they listen to even, but that’s another story for another time, but I think that’s crazy. I’m not saying it because I’m so fucking cool, I’m saying it because that’s the opposite. I just got to play with these two bands just because they like me.

PW: It’s definitely nice to see bands taking care of other bands, too. I find that is something that has dwindled a great deal. I didn’t realize this until I started doing this music journalism thing, but you see a lot of bands that are not compassionate about anybody else and I picked up on that from you and Brand New that you guys do take care of each other and it makes me like the bands more because of that.
KD: Me, too. Not to belabor the point but with Brand New in specific, you’re talking about a band that could never bring a support group on tour ever and sell 2,000-3,000 tickets anywhere in the world. I’ve seen that band play at the Leeds festival opposite the Kings of Leon or something and 18,000 kids were in a tent singing every word to their songs in the middle of England. I’m getting chills just sitting and talking about it because I remember being like, they’re my friends. They’re just dudes that we go eat and we play video games or they come over and we go see a movie and then I go watch that and I go, “Oh my God.”
This is a group that they were fighting with all those things, the ego, the rock star impulse, the ascendancy where people are blowing a lot of smoke up your ass. People figure out all that bullshit when they’ve already gone down, but they figured it out here and went, “Well we have to figure out a way to make this meaningful to us because if we don’t, we’ll breakup, so we’re only going to bring bands we like on tour, we’re going to do everything we can to help them find an audience through our audience.” I can’t articulate to you how rare that mindset is for a band their position. I wish it weren’t, but I would say rare almost to the point of being exclusive. I don’t really know any other bands that are as popular as they are that do the things they do.

PW: I would definitely agree. And the thing that I have found probably the most difficult about the entire situation is that lyrically based I think that there are people that just naturally assume that Jesse is an asshole when really it is the complete opposite from my experiences with him.
KD: Your experiences with him are true and correct and he — well I’m biased — he’s one of those five people you call when somebody in your family dies. Like this is somebody I’d get hit in the street by a car for if I knew it would help him be OK in some way.
Beyond all the things we just talked about, he’s one of my most trusted friends in the world. When someone has the audacity to come up to me and say, “Jesse Lacey’s a dick. Is that true?” I have a temper. I’m Irish and I come from an Irish family so my whole life is about suppressing that Irish temper, but when someone comes up and says something like that I’m like, “Yo dude fuck you.”
Or when someone says, “Why are you friends with him?” Why are you friends with your friends? Because you met them and you like them. It’s not a fucking mystery. How did you become friends with Jesse Lacey? Well there was a dowry and I paid his family $50,000 to let them be friends with me. But anyway, I love them and I love what he does and it rubs off on all of us.
I learn a lot from how those guys do things. I’d be remiss if I didn’t point out that I think it’s true in reverse. They learn a lot from the people they bring out. I’ll tell you this. I sell 10,000 records the sell 3-500,000 records. They don’t treat me like that and vice versa and that’s the coolest thing in the whole world.

PW: In “Another Bag of Bones” you managed to hit on world politics and religion all on one song. Where did the inspiration for this song stem from?
KD: These days I have a bit more acceptance and surrender in my life, but I spent most of my 20s, I turn 29 tomorrow..I spent most of my 20s being really angry about all those things and I still am worried. I don’t know how you could not be worried. I’ve come to realize that my politics, or whatever the fuck you want to say, are more radical than the conversation that happens in this country about politics and that’s okay.
That’s not to say that there’s not good stuff from liberalism and the Democratic party. There are a lot of things that are immediately more helpful to people if a Democrat is in power: minimum wage and access to certain social aide. Certainly things like reproductive rights and stuff like that, but there’s a whole lot of stuff that they don’t even address. It’s not even discussed. It’s not on the table. Maybe there’s a rhetorical addressing of it.
The whole song started with, “it’s a brush fire spreading, feeding as it moves.” I was in California. It was 2007 and the brush fires were happening — they happen every 8 months. It was happening then and it just wiped out all these homes. The notion of fire starting here and nature raging down a hill taking out all this stuff seemed like a really apt metaphor for me for how everything seems to be happening in the world right now.
When you have a globalized communication system, a globalized economic system, a globalized military system and everything’s shrunk and everything affects everything, it’s the butterfly effect or whatever it’s called. Hummingbird effect. It’s one of those two. That was it and the song just started and it was like, “a derrrrrrr.” It’s certainly not an uplifiting song and it’s hard for me. It’s weird. I feel personally centered more than I ever have as an adult, but abstractly speaking there’s a lot of hope in this country right now and that’s great.
There’s a bookstore that’s a socialist/anarchist/feminist, whatever store in New York called Blue Stockings and on the day after the Obama election in the window of the storefront it said, “Great, now let’s get mobile!” and that’s how I feel about it. That’s symbolically important for a lot of reasons. That’s what I’ve been suggesting for a year and a half. I think when you end a song with, “It’s closer than you realize and it’s time to burn,” it probably doesn’t mean that you think things are that great.
What I can do is live really well as best I can in a small way, talk to people, listen to people, teach people, remain hopeful, live the best life I can live in the way I can live it because everything else is fucking bigger than me. I can say what I think and that song is what I think. If people miss the whole point and think it is a great rock song or it’s loud or it sounds like hip hop, because that’s what some dude told me, then that’s great. That’s awesome because I’m also trying to write songs that people like or that I like. I don’t want to end the interview on a note that’s depressing, that’s to me, that song comes from being really afraid, but I still have to live. I don’t want to live in fear all the time, you know?

PW: What should we expect in the future of Kevin Devine?
KD: The record. I’ll take some classes. I’m going to take some time off and audit a class. A writing class at my college, and do some stuff. Maybe get some work at a coffee shop and do some work that’s normal for the next four or five months and then I’ll probably be on tour from May to 2010 or something for this record.
PW: You’re regular 300 days of the year.
KD: Yeah. I’m going to Japan in February. I’m doing SXSW, but outside of those two trips, I’ll have the next four, almost four months off. So a lot of reading and watching DVDs and seeing my family.
PW: That doesn’t seem like a bad life.
KD: No, it’s fucking awesome.
PW: I will definitely see you at SXSW then.
KD: I’ll be there. Sorry if I talked too much.

Kevin Devine: website | myspace | Put Your Ghost To Rest review | @ north star bar | @ the picador | @ the troc balcony | interview with pt. I

Photo #1: Emily Driskill
Other photos: Jessica McGinley

This year’s Bonnaroo Music & Arts Festival will be held June 11th through 14th in Manchester, Tennessee. All general admission and VIP tickets go on sale this Saturday, February 7th at 12 ET.

LINE UP:
Bruce Springsteen and the E Street Band
Phish
Beastie Boys
Nine Inch Nails
David Byrne
Wilco
Al Green
Snoop Dogg
Elvis Costello
Erykah Badu
Paul Oakenfold
Ben Harper and Relentless7
The Mars Volta
TV on the Radio
Yeah Yeah Yeahs
Gov’t Mule
Andrew Bird
Band of Horses
Merle Haggard
MGMT
moe.
The Decemberists
Girl Talk
Bon Iver
Béla Fleck & Toumani Diabate
Rodrigo y Gabriela
Galactic
The Del McCoury Band
Of Montreal
Allen Toussaint
Coheed and Cambria
Booker T & the DBTs
David Grisman Quintet
Lucinda Williams
Animal Collective
Gomez
Neko Case
Down
Jenny Lewis
Santogold
Robert Earl Keen
Citizen Cope
Femi Kuti and the Positive Force
The Ting Tings
Robyn Hitchcock & The Venus 3
Grace Potter and the Nocturnals
Kaki King
Grizzly Bear
King Sunny Adé
Okkervil River
St. Vincent
Zac Brown Band
Raphael Saadiq
Ted Leo and the Pharmacists
Crystal Castles
Tift Merritt
Brett Dennen
Mike Farris and the Roseland Rhythm Revue
Toubab Krewe
People Under the Stairs
Alejandro Escovedo
Vieux Farka Touré
Elvis Perkins In Dearland
Cherryholmes
Yeasayer
Todd Snider
Chairlift
Portugal, The Man
The SteelDrivers
Midnite
The Knux
The Low Anthem
The Delta Spirit
A.A. Bondy
The Lovell Sisters
Alberta Cross

Bonnaroo: website | tickets

Georgia-born singer/songwriter Butch Walker is something of a paradox. Over his decade-plus career, he’s found moderate success as a member of the punk-pop outfit Marvelous 3 and as a producer whose credits include the likes of Bowling for Soup, Avril Lavigne, and current left-field novelty Katy Perry. Yet while he undeniably plays well with others, one can argue that his best work can be found in his solo output, which ironically has failed to make him a household name. After three albums across just as many major labels, Walker is giving it another go on the independently released Sycamore Meadows. Reflective of its title, it finds Walker applying his seasoned production skills in a fresher, freer method.

In spite of his mainstream credentials, Walker sounds surprisingly at home in an indie rock setting. In fact, a number of songs recall the genre’s current shining stars. The propulsive “Vessels” is alternately sweet and seething, molding a take of a dysfunctional relationship into a lush, bell-laden melody that Okkervil River may one day aspire to craft. It’s immediately followed by “Passed Your Place, Saw Your Car, Thought of You,” a languid loop of repeating blips and beeps that would fit right in on The Notwist’s latest album.

While many of these numbers may sound familiar, they rarely sound derivative. Walker uses his pop tricks to lend a brighter, shinier quality to the proceedings than most. “Ships in a Bottle” is a light but lovely ballad that suggests Conor Oberst without the weight of that chip on his shoulder while the penultimate “Closer to the Truth and Further From the Sky” takes the euphoric rush of We Are Scientists circa “After Hours” and renders it acoustic, making it more heartfelt in the process.

The best quality of all of these songs is their breezy sincerity. They sound like they just came off the top of Walker’s head, yet never feel sloppy or forced. The one exception to this rule is, of course, the one song that has the best shot at finding a wider audience: “Here Comes The…” is a twangy duet with Pink (herself a past Walker collaborator). The melody is attractive enough, but her vocals feel superfluous, almost like an added afterthought. The truth is that Walker fares much better on his own.

Like the pop he’s known for producing, Walker’s latest is very of the moment. It sticks in your head and sounds nice while doing so. Of course, whether or not he’ll stay in your heart or continue to fight for recognition in the future remains to be seen. Either way, Walker says it best: “We can be in love for just one day.”

Sycamore Meadows will be released November 11, 2008 through Original Signal Recordings.

Tracklisting:
01. The Weight of Her
02. Going Back/Going Home
03. Here Comes The…
04. Ponce De Leon Ave.
05. Ships in a Bottle
06. Vessels
07. Passed Your Place, Saw Your Car, Thought of You
08. The 3 Kids in Brooklyn
09. Summer Scarves
10. A Song for the Metalheads
11. Closer to the Truth and Further from the Sky
12. ATL

Butch Walker: website | myspace

Written by: Rob Huff

Day Two of Treasure Island saw more rock and less DJ’s which made the crowd significantly larger and happier.

If you haven’t heard of Vampire Weekend then you’ve probably been under a rock for the last year.  Due to a brilliant marketing plan and not much else, this band has catapulted onto the cover of Spin and performed on “Saturday Night Live” straight out of college.  After listening to their entire set, I can safely say that they have no memorable melodies, just a clean image and a great gimmick.  Truthfully they came off more like a teacher singing nursery rhymes than a rock band playing to 10,000.

On a side note I think it should be a rule that V-Necks and cardigans have no place in rock and roll unless you’re Jimmy Page.  What happened to rock bands that would beat you down and steal your girlfriend?

The Kills came out boozing and smoking and burned through their 45 minute set.  Even if you don’t understand what Allison Mosshart is saying, you’ll believe it because she puts everything she has into her performance.  Don’t let this two-piece fool you, they will pummel you and leave you wondering what happened to your innocence.

Okkervil River provided the most energetic set of the afternoon and frontman Will Sheff knows how to work a crowd.   With such diverse songwriting and musicanship, this band won’t be Austin’s best kept secret for much longer.

Fleet Foxes sound like every great band in your parents record collection and they have the look to match.   With the addition of J Tillman on drums their 3 part harmonies are what dreams are made of.

Spiritualized brought their near epic arrangements that either make you cry or make you wonder if someone slipped something into your Kool-Aid.  After a long hiatus, Jason Pierce hasn’t lost a step and the new material sounded great.

Tegan and Sara’s sound translated well to the festival setting since everyone in the audience adored them.  They’re in the midst of writing a new album so they stuck to their released material which had the crowd in the palm of their hand throughout.

The Raconteurs are better than your favorite rock band (unless they’re QOTSA), just make it easy on yourself and come to grips with it.  You may ask why but the answers are simple; they dress better, play guitar better and write better songs.  The two headed songwriting monster that is Jack White and Brendan Benson are backed by an air tight rhythm section in Jack Lawrence and Patrick Keeler and they play straight up no frills rock and roll. White seemed more interested in playing the keys rather than guitar which allowed their set to dynamically breath.  They leaned heavily on their new album The Consolers of the Lonely and found time to fit in a couple guitar solos…remember those?