May 11 2011
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Clucking Blossom is nearly upon us.

May 21 is Clucking Blossom.
Its a free outdoor Festival at Birch Hill Recreation area, May 21 noon to midnight.
Confirmed Bands include Sweating Honey, Let’s Hotbox a Delorean, The Jeffreys, Eating For Two, and The Phineas Gage.
There are also  art supplies to create and decorate your clothes, a kids zone (maybe with baby goats in a petting zoo?), an indoor Metal stage, a free market, an art walk in the woods, information booths from local non profits and much more!

I will be walking around drawing portraits of anyone who wants one and giving them away.
This is a 7 year tradition in Fairbanks and like the previous years it is free.
Of course it isn’t free to rent the space or pay for the security, the sound gear and the insurance. The only way this comes together is with pluck and vigor, passion and a whole lot of volunteers! We don’t usually have out of town bands play because without a cover charge or corporate sponsorship there is no budget to play the bands.

So what kind of a festival is it? I have been to Bumbershoot , CMJ, and South By Southwest and the one thing I would notice is there is a complete absence of corporate logos! There is no “Starbucks” stage or “Rockstar sponsored events” it’s all by us for us: and by us I mean the people of Fairbanks. If you want to help now or perform in future years, you TOTALLY CAN!! Because its YOUR FESTIVAL.
I will post more as it comes to me, here are two flyers I made for the event. Feel free to print them and post them.
I will be back with photos of the event, photos of my portraits, drawings of the bands, and some notes to review their performances. There are many special things planned. we have just 2 more meetings before the event, tonight-wednesday the 11 at clucking blossom, next wednesday and next friday we will construct the stage and put together the ART WALK.

May 10 2011
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Hello, this is the first two chapters of my new book. I may re-imagine it as a screenplay to be animated. I wrote a similar book when I was about 19, but now I’m starting over and doing it over again. I fully realize it is derivative, I heard that Hollywood prefers things that way.
Pitch: A Disney Princess Story meets Kurt Vonnegut Jr.
Other Keywords: Princess Mononoke, Cats Cradle, Dyson, WallE, Iron Giant

Jellybean  Jill and the Universal Construction Machine

There were 4 rules.

1 No living things
2 No destructive weapons
3 No money
4 No more universal construction machines.

Usually new technology is discovered by the military first and then slowly ekes its way into the public sector. The submarine was first used to destroy an enemy, and then only later was it put to exploring underwater trenches to learn of new lifeforms, ecosystems and prove the theory of continental drift. Rockets were used to deliver explosive force long before they were used to take people to the moon or satellites to space.
But this invention was used by civilians before the military even imagined it was viable. In an attempt to reduce destruction one of the built in “limitations” was an attempt to prevent the construction of guns and bombs. Many useful tools of course have tremendous destructive power, and the dark imaginations of people can fuel hugely destructive forces.

I am writing this for readers of the 21st century, in an attempt to prevent disaster. My mind is struggling to imagine a metaphor that you will understand. The closest thing I can think of to the UCM is the lamp from the tale of Aladdin, one of the stories Shaharazad told to delay her execution. There was an animated film made of the story  which featured a jovial blue genie who explained there were rules with the lamp, he couldn’t kill anyone, and he couldn’t bring anybody back from the dead. There were rules with the first generation of UCMs as well; but Jill proved that with logic and inventiveness, they could be bypassed. A more apt comparison may be that of a girl who opens a certain dangerous box in a Greek myth.

Still struggling, I apologize; another similar story might be that of a superhero origin, someone discovering they have a newfound power, and coping with this and trying to wrap their heads around the possibilities. H G Wells wrote a story called “The Man who could Perform Miracles.” I don’t suppose you read that though. Jillian quickly found herself opposed by government forces, but her potential for defense more than matched their power to apprehend her, and fortunately they realized that before the collateral damage occurred. Once the first shots were fired in her direction, she developed a force field that could protect her from projectiles, and harmlessly dissolve the weapons that had fired them.
Jillian quickly shared the UCM with individuals, who were inevitably as confused as she had been and the government watched helplessly as their illusion of control vanished.

I find myself wanting to make another direct metaphor; I apologize for the repeated use of allusion. I was given universal knowledge when Jill became bored with having no one intelligent to talk to. My mind was flooded with the text of millions of Earth’s mythologies and so again, I utilize a literary reference. Jill thought of herself as a modern Robin Hood, redistributing wealth was one of her hobbies that began at the age of 6. She found great joy in giving to others, and if she had been more selfish and restrained herself, disaster could have been avoided.
Once the UCM caught on, it was unstoppable, spreading from household to household and continent to continent like no airborne virus the world had ever seen. It was first developed in a small lab in northern California, its influence expanded exponentially; suddenly space tourism was safe and affordable, and so millions ventured into the atmosphere to see the earth from above.

Economics is the study of how people deal with scarce resources, so you see why the UCM would obliterate the concept of economics. Once the UCM was a household item like a toaster or microwave had been to the previous generation, the only scarce resource was empty space. The whole world became a parody of the garages of the american suburbs, crammed with the junk associated with impulse spending, yard ornaments, pool toys, trampolines, video game systems, sports gear, musical instruments, toys, “collectibles.” Only now there was more of it.  Everyone became a spoiled child. It was as if the collective attention span had been diminished and no one could be bothered to clean up their mess. “Americanism” ran rampant.

Rule four was instantly bypassed and abandoned.
Rule three proved moot: No one needed money anymore.
Rule one was broken, as my existence demonstrates .
But rule two was the tricky one.

But once this was in everyone’s hands, greed was no longer a factor prompting violence, people were killing each other over much more petty and banal things; because they could.

I realize I have a unique perspective about this, but let me emphasize: I  knew Jill personally. I was her “pet.” She became bored with the dogs, cats and bunnies she created with the machine (I did explain how she bypassed the self imposed limitations, didn’t I?) and gave me the ability to talk, and think. I became a living embodiment of the UCM itself, and began to speak for it. I am a talking, floating… again I struggle… sorry, hamster?

———————————————————————————–The first sound I heard was that cheerful voice of hers. “Hello! wake up!” My mind reeled, with centuries of history lessons and seemingly endless novels, tales, blogs and encyclopedia articles.
“Can you talk?”
“um… yes.” I heard myself saying.
“I was bored with Mimsy and Flopsy and Roofer and Harold and Kermit and all the others were kind of… boring. So I gave you a little more pep.” Her brown hair reached down to her shoulders and had a slight curl at its end.

“I’m a hamster? And I’m cerulean?” Looking at myself I observed a sky blue tint to my short fur.

“And you can fly- I hope.  I’m not sure I can trust this thing anymore. my specifications were quite… specific. Hmm” She indicated a white cylinder, the size of a wastepaper basket. It had glowing lights and a peaceful air about it.

“What kind of ridiculous anime sidekick do you think I am? Who are you? What are you doing with all that food!”

Her voice was calm, but had a slight wavering in pitch that indicated a lack of confidence. “My name is Jill. I… uh, made you. You are a manifestation of the collective knowledge of mankind. We are going to go on a picnic. If your inclinations are so… inclined? I mean, if you want to. but I do hope you want to.”     She was packing a watermelon, a six pack of soda, smoked gouda cheese, rice crackers, deviled eggs, a mango, three pears, olives (without pimentos),  a can of tuna and another of smoked oysters, a jar of pickles, some chocolate chip cookies (with walnuts)  and tortilla chips into a bag.

“A picnic: a pleasurable excursion in which a meal is eaten outdoors.” I grunted, rolling my eyes to express annoyance but also to take in my surroundings. We were in a suburban house, with French wallpaper I recognized as Pierre Deux and some Walnut furniture with linenfold carving. Recognizing them reinforced the the burden of my knowledge, it weighed like a million tons on my back, the sheer quantity of facts. I felt like Marvin from Hitchhikers Guide to the Galaxy.

“Your my new pet. Your the thirty-second one. The others were all insufficient, but I tried to improve on them and make up for their… insufficiencies. Golly Gee! I really need to expand my vocabulary; I have been too ebullient to sleep recently that may have a stifling effect on my verbosity. I gave you the knowledge of the internet.” Her smile gave me an excited rush of energy, as I recalled an emotion known as “companionship” from a story by Jack London called “Stickeen.”

She encouraged me to come closer, and I found that effortlessly, I could levitate nearer to her. Once I was close she pressed a button on the white cylinder and a white bubble engulfed us. We lifted up and out of the door of the house. Out side, beneath us, were endless, decks, lawn furniture, basketball hoops, fences, swimming pools, slip and slides, and dog houses but scattered among them were people in fist fights. Arguing over whose sculptures were taller, whose RVs were larger, whose stereo systems were louder,  whose fountain’s were prettier, and whose furnaces were more efficient.

Up we traveled, levitating over the madness, the gunfights, some nerf, some authentic. We settled over a hill that was littered with discarded four wheelers, pogo sticks, bigwheel tricycles, scooters, badminton rackets, bird feeders and baths, viking costumes, Duplos, bookshelves, and a gigantic wheel of fortune. With a wave of her hand, the detritus was swept away: and a trace of green grass emerged and struggled to absorb some sunlight.

We landed in the center of this crater and she unfolded a white blanket and began taking out her feast. “Olives contain antioxidants… of course the pickling process spoils that. Chocolate does too, but of course the Dutching ruins that. Look, pickles! I love pickles. Oysters contain Zinc and natural antidepressants but canning and smoking them of course diminsh their health benefits. ”  With each food item she removed she took a nibble.
She displayed her pleasure with every bite, which was beautiful. I felt like Jane Goodall observing a Gorilla as it ate its own grass colored vomit. This was a human, and as I had only just been blipped into existence, the behavior of humans was novel to me: I felt a need to observe and note. Jill looked like the humans who were arguing and fighting outside the bubble- but Jill seemed to behave much differently.
In my memory I recalled learning of “tea parties” and picnics. I was supposed to eat as well, I scrambled over to a plate with my clumsy little legs, sat on my bottom and brought the bit of a tortilla chip to my mouth. It was salty, crunchy.
A rocket soared by high above us as she brought a thermos to her mouth. “A lot of people think matte contains caffeine.” Fireworks exploded about a mile away. “Actually it contains a chemical that is similar and has a similar effect, but doesn’t carry with it the jitters or the post caffeine crash.” some gunshots were fired to the west and a hang glider crashed into a helicopter to the south east. The sun was setting and I tried to relax. I took a bite of a smoked oyster and recoiled.
“They are kind of an acquired taste… sorry if you don’t like it.”
“Jill?”
Hmmhmmm?” Jill mumbled while slurping an oyster.

“Is this a real oyster?” I asked, looking it over suspiciously.

“You mean, is anything real- that comes from a UCM?”

“It didn’t live in the ocean, it didn’t filter water though its valves, right?”

“It was created by the UCM for us to eat it. So, its real, but it never really got to be an oyster.”

I struggled to my feet. I stood up straight and looked her in the eyes. “Am I “real”?”
do you feel real?
Yes.
Well i think you are. who was it who said I think, therefore I am.
Descartes, though he wrote it in French first as “Je pense donc je sues,”
“Oh I’m so glad I made you smart! the animals I made before you couldn’t hold a conversation.”
“how can i function, without having had a childhood? how can my tiny brain hold so much knowledge?”
I threw my paws up to my ears, a deafening roar now willed the air and our tea cups rattled on their plates. I looked up in horror and saw a jet airplane come swooping down at a steep angle, it appeared as if it would crash into us. Though it was pointless, i dove behind a load of Raisen bread. Jill looked toward it, and effortlessly, her bubble extended and “grabbed” the airplane, causing it to gently land a hundred feet away from us. Emerging from the cockpit with exuberence was a 7 year old boy, who threw his fists into the air and shouted “YES!” then climbed down and ran off.

Our UCM seems, better than theirs, faster? Why is that?
I developed a technology to allow it to read my thoughts, and translate those into reality. We wont be harmed by anything outside the bubble.

“Why didn’t they think of that? why didn’t they think of a bubble?”
“I don’t know.”

“Why do they make airplanes they don’t know how to fly? Why do they make zamboni machines when there is no ice rink to smooth? What is wrong with them?”

“You are quite the curious little bugger aren’t you? Well I did make you that way, Ok lets try to answer that. Kids shouldn’t play with guns, and they shouldn’t look at pornography. I can’t say what is the magic thing that transforms kids into adults and makes it OK for them to do adult things. I think the UCM is more for someone who… is, well, more matured than an adult.”

“You used the UCM to make, a picnic, and a cute dress, and Me. But they are using it to make well, too much stuff. violent stuff, ridiculous stuff.” I was so upset that I may have stammered a little.

“one man’s opulence is another’s banality.”
She shrugged, with all the composure of buddha sitting under the bodhi tree. She took a sip of Matte.

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Apr 03 2011
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Lawrence Arabia, Caressa

Lawrence Arabia
Chant Darling
New Zealand
Bella union
Engineered by  James Milne, Luke Buda,  James Dansey, Nick Meul,  Jo McCaughey, Samuel Flinn Scott.
Mastered by Olly Harmer

This second album from New Zealand’s James Milne mimics many vintage styles.
Some tracks recall the Kinks, others Elliot Smith. There are hints of breezy psychedelia and humor throughout. Though it was recorded at various studios in the Sweden, the UK, and New Zealand, over a period of a year, yet it sounds as if it came from a fever of dreams in a single night.
The distorted bass line and catchy melody  of Apple Pie Bed makes it sound like a lost track from George Harrison’s “All Things Must Pass.”
Dream Teacher makes a very chill beach boys mood with multilayered vocals, sparse arpeggio guitar and quite familiar melodies. There are no drums, merely some gently tussled tambourine.  Look like a Fool is a entree masterpiece, worth your time and attention.
The only dud is The Beautiful Young Crew, where its hook, which was never that great to begin with, is truly dug deep into the ground by being repeated a dozen times.
Here is a fun, retro album, full of shining happy moods and blissful 60s sounds. He may ape the sounds of other bands too much to make the album a true gem- but several of these will be awesome on your mixtapes- and you’ll love it when Apple Pie Bed  pops up on shuffle.
He has played with the Brunettes, another awesome New Zealand Band who is worth checking out. He may have been a part of the band when I saw them at a New Zealand showcase at CMJ in 2007. He has played with Okkerville River and Connan and the Mockasins as well as other New Zealand “supergroups.”  He also has been opening for Crowded House in 2010, one of the best known New Zealand bands.

myspace.com/lawrencearabia

Caressa
Wanderlust.
Homer, Alaska.
Engineered by Matt Farnsworth and Atz Lee Kilcher.
Mastered by Tom Pfaelle.

Caressa has played in Homer for the past few years. She used to call Fairbanks her home, and before that, Los Angeles. Her friendly voices invites you into the world of her songs. This album was released in 2009, but I only recently got a copy when she came up here and played some shows with me.
There are intricate guitar picking rhythms and commendable performances from her rhythm section on this record. Her playful flirtation comes across in lyrics such as, “If you talk to me sweetly, I just might follow you home.” Illustrations of Alaska are in the poetry of her lyrics, local bars, trailer trucks, ocean waves, winter, wind and mountains are used as characters in her songs. The production is most exciting on Empty Nest, which is busy, but gives lapses in intensity and allows  the rhythm to be fluid to bring
Jazzy drums from Matt Farnsworth and banjo by Caressa herself on Wanderlust bring more fascinating textures and sonic accouterments. In Postcard from Homer, Ak, she demonstrates that she can balance tenderness and fury, “I never want to see you again, unless its all of the time.” In the last minute of this song, Caressa lets go of rhythm and plays some wild Kaki King-like guitar pyrotechnics. I hope a future album would explore these directions. I know she can play some wild stuff, and hope she doesn’t dismiss that kind of playing as “messing around.”
She has a percussive rhythm guitar style and carefully enunciates her delivery of clever lyrics, in these ways she has been compared favorably to Ani Difranco. It’s a good comparison if it helps more people listen in, but I like Caressa better.

reverbnation.com/caressa

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Mar 27 2011
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New Teen Paranormal Romance, Phantogram, PJ Franco and the Burnouts, Destroy Nate Allen, Social Studies

Hello.

My band is playing at Ivory Jacks in Fairbanks AK on March 26.

We play Amy Winehouse covers, Black Keys covers, original Jazz cartoon zaniness and whatever we feel like.

 

 

 

 

 

 

 

 

PJ Franco and the Burnouts

Rage City House City Shit

Anchorage AK

Recorded by Kurt Raymin at Surreal Studio

 

I don’t know if people are still going out to see 90’s era punk ska acts like Less Than Jake, although, I suspect that NOFX fans have a certain “never say die” quality. Here is an example that proves there are still kids playing this exciting , angry music and it makes others get up and circle mosh. The elements are here, upstroke ska guitar through distortion, fast ryhthms- heavy on snare, snotty vocals and lyrics about getting wasted in a dead end town.

 

Evan is known for his eccentric charm, as he can’t help but gleefully bounce while he sings, and shreds. The guitar is hopelessly messy of course, but it doesn’t matter because PJ brings us such intricate and relentlessly pounded drum rhythms. I struggle honestly to  tell the voices of PJ and Evan apart from each other. I think Evan is usually in lead vocal duty, he sounds as if he is smiling, no matter how mean the lyrics are. The one screaming is usually PJ.

The trombone onYoung Rizzo vs. Fat Val from Toddy is a pleasant inclusion, though it’s on few of these 16 tracks. This song is about a zombie apocalypse and “people were literally being…. eaten alive” says the disembodied talking heads from the television samples in the intro.

Burn it has some skanky guitar upstrokes, and a wide variety of tempos. “Burn down the White house with the President inside!”

The Wasteland is a tribute to a notorious house in Downtown Anchorage, It was a trashed shell of an abode but managed to keep its occupants warm and dry and most weekends could be counted on to be the site of a show or two. They give directions to the place in the lyrics to the song, though its no longer housing malcontent punks who host underage shows.

The mix suits the material well, the guitar is suitably huge, vocals are always clear and the drums are done in such a way that PJ’s frequent subtleties aren’t missed. He throws in fills, drills his snare, and more high hat hits than you would think would be possible in a brief second. At parts where the guitar is playing loud power chords, his cymbal playing is almost enough to sing along to. Sometimes I wish the bass were louder, like on track 13.

 

The word is that their bass player is only 17 and her mother won’t let her tour. I remember being 18 and wanting kids in my band whose parents wouldn’t let them, perhaps because they had the assumption, that everyone in bands becomes alcoholics.

If you still like this kind of music, check out another Alaskan punk band, Whiskey Tango.

Phantogram

Eyelid Movies

Saratoga Springs, New York

Barsuk

Eyelid Movies may be a rather obvious metaphor for dreams. there are many psychedelic and science fiction moods conjured in these 11 tracks. At times it reminds me of The Knife, others like School of Seven Bells and Nite Jewel.

The lead single, When I’m Small is some kind of wicked trip hop beats and rubbery guitar that sound like a rainy night in a inner city. Pleasant synth arpeggios add to the mid half way through.  Sarah Barthel sings “Am I underground or am I in-between?”  with an innocence and  creepy conviction. The vocals have a breathy intensity that recalls the best of Blond Redhead.  When the screaming double picked guitar starts at 3:20, the piece picks up and soars.

10,000 Cats has some of the chamber pop charm that My Brightest Diamond and St. Vincent have popularized.  Bloody Palms is another clincher:  this jerky riff begins immediately and doesn’t let us know where we will be getting off, Now the vocals of Josh Carter are the one’s giving us a eerie confusion and pleasant sense of dread.

The chirping baby dragon sounding synth that begins at 1:50 provides further fascinating textures.

Mouthful of Diamonds has a pleasant new wave pop progression. This album rocks from start to finish.

myspace.com/phantogram

Destroy Nate Allen

Until my Ankle’s Better

Portland, Oregon

Mixed by Tyler Hentschel at Psychedelic Media Circus. Mastered by Gus Elg at Sky Onion.

A collection of sing along acoustic punk anthems.

 

On Borthwick and Failing Nate sings about simple things. Homework, taking out the garbage and making his own bed.   He admits he doesn’t like the taste of alcohol or cigarettes, but enjoys staying up too late to get to know a friend better. A frequent topic of his lyrics is his faith, and sometimes he even communicates his fear of being rejected by those in the punk scene. Tessa Allen’s voice is a welcome addition in Math I Will Defeat You and Put your head on my shoulder. Nate’s voice is pleasant and free, friendly and warm;  he isn’t screaming, but singing genuinely and passionately. Drums and keyboard and bass appear sometimes, but usually the acoustic guitar is the only instrument. The music is never complex, it never distracts for the honesty and simplicity of Nate’s tender songs.

There are some great lyrics here, among my favorite is “Well I’m pretty glad we’re kinda free. Truth is we could be a lot worse off,” in Land of Opportunity. Small Town has some simple nostalgia about American life that would make The Boss proud. There are hints about the way America is changing, such as, ” They don’t sell records there no more,” in Gasoline.

Along with the lyrics in his zine packaging are essays about his songwriting process, his relationship with touring and school, how he juggles his faith and the experience of almost losing his wife to untreated appendicitis. These certainly help to fill in the gaps of the Nate Allen biography and give the audience a more complete experience.

None of these songs on their own would get someone particularly excited- but the whole album together makes a certain pastiche- a collection of moods and observations. This is best as a souvenir from the experience of a Destory Nate Allen show. He plays without plugging in, and somehow gets the jaded crowd to gather around him, clap, sing along, and follow him around the room.  It’s always impressive, compelling  and sincere.

This artist is currently on tour in Alaska.  Here is more about him in a write up in our local paper.

http://www.newsminer.com/view/full_story/12396042/article-Folk-rocker-Destroy-Nate-Allen-finds-new-sound-through-band-reimagining-?instance=latitude_65_headline

destoynateallen.com

 

Social Studies

Wind up Wooden Heart

Antenna Farm Records

San Fransisco, California

Highly enjoyable and perky female fronted indie pop

Here is a fun album, with a mix of noises pleasant and unexpected directions. Natalia Rogovin’s voice displays a genuine variety of moods.

Run with Fever is a great way to kick things off. Synths and female vocals curveball around a straightforward driving beat.  Drag a Rake brings in a string section for sweeps and pouncing pizzicato passages.

Trapdoor Spider was the first song I heard, and it  made me say, “I need more songs from that crazy band!” Things get frantic, familiar Casio sounds, combine with math rock and sweet, irresistible vocals. This one is more in the vein of Deerhoof or XXVVWWZ. Jesse Hudson joins in the vocals for a sweet duet in The Good Book. It’s a great way to end a great album.

Highly recommended for fans of Thao and the Get Down Stay Down and the Cardigans.

 

myspace.com/socialstudies101

socialstudies.bandcamp.com

 

 

Coming soon: more comics! I promise. I will soon be published in a zine produced by Green Tara of Anchorage, I have plans to play at Clucking Blossom, to tour to anchorage, to finish my first book of cartoons and post more reviews on here. Coming soon- Caressa Starshine and Lawrence Arabia

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Mar 08 2011
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Indie Rock Cliche Bingo, Stumblebum Brass Band

Here is a little comic I made. The bands illustrated here are the Sahara Hotnights, Marnie Stern, and members of Netherfriends and the Raveonettes. You will have to click on them to enlarge enough to read.

I debuted new songs “Haute Couture” “An ode to Star Trek Villians,” and did encore performances of earlier pieces at Rosemary’s house CLOUDBERRY CASTLE last weekend. I played alongside Avery Wolves, 58 Roadsigns, Eating for two, Feeding Frenzy and Space Boots.

Caleb Kuntz added video of me performing “Knit that Shit” with Band of Zorses from the february 5th pub league.

fbxshows.com/wp/?page_id=15

New Teen Paranormal Romance will play a show this Friday (march 11) at the marlin. its 5 dollars and profits go towards CLUCKING BLOSSOM. We are performing with the Good Daze, Jesse Hobbes, and my good friend Greg who calls himself “Black Flowers Black Sun.” Highly Recommended.

We also made a Facebook Page.

http://www.facebook.com/pages/New-Teen-Paranormal-Romance/173243516053895

Please add us as fans, there are things we can’t do until we have over 35 fans. Also, it helps when we are trying to book shows if the booker knows we have some fans out there. 🙂

My friends in the Stumblebum Brass Band are coming back to Alaska for a tour.

They will play in Fairbanks June 4 at the Marlin, I will be their opener. They also have dates all over the state in May and June, including: Talkeetna, Anchorage, Homer, Denali and Trapper Creek. Their live show is amazing. They have gotten arrested for playing outside on Christmas without a permit. Punk rock.

Check out their tour dates at
http://www.stumblebumbrassband.com

Frantic New Orleans style street jazz meets Punk rock frenzy

Stumble Bum Brass Band
Fuck You Lady Gaga. (no label)
New York, New York
Recorded at Bisi Studios by Martin Bisi
Mastered by Dr. Kevorkian
Key tracks Sweet Spot, 2nd Avenue, Girls, Anarchy, I Killed a Man.

The Stumblebums borrow from New Orleans street jazz for the bones of their skeleton, then punk rock for the teeth. . Those snare hits slam and that tuba is huge in the mix. The tuba is so expressive, and its pilot is adept at giving each blast character and verve, even when the tempos are enough to exhaust to anyone sane.The trumpet soars and the vocals, sometimes shouted through a bullhorn, sometimes crooned with the whisky soaked gravel, provide many “did he really just say that?” moments. Most of these songs are fast, offensive, wild and fun.
Many songs come in around 2 minutes, and would be fantastic on your mix tapes or inserted into radio playlists for a satisfying wtf moment.
Many of these songs are reproductions of sketches from their first album- redressed and touched up. Shortened and tightened perhaps from two years of intense live shows. On the first version they sounded a little flat, soggy and honestly, like they were just playing into a mic in a dead room. They sound fantastic now, Smidge’s voice and lyrics channeling vice from the great frontmen he follows, Janis Joplin, Iggy Pop, Louis Prima, Tom Waits, a touch of Hank Williams, and of course a nod to all the hip-hop frontmen who revel in being as ‘nasty’ as they can.
On “Try” they actually slow it down and let things swing. “My body’s had enough, lord I tried,” it’s a refreshing reintroduction to the blues; guitarless, undeniable, and immediate.
Jonny Balls comes out from behind the drumset to sing some lyrics on “GIrls.”  His spastic and perky drumming is hard hitting and perpetually consistent. They let him cut a brief solo on “I Wanna.” Johnny wheres the cowbell? Subtle rhythm changes in “Dirty” prove that the drum set can be a melodic element in punk rock, and help establish that the Jazz influence make sense.
Martin Bisi’s production is in your face and always faithful to the live show- the only place where there are obvious effects and overdubbing is in “Blue Eyed Blues.” Otherwise the disc just seems to be mixed and mastered very conservatively and expertly.
“Pink Cadillac,” is a nod to those 50s “oldies but goody” songs, but of course the tempo picks up and Smidge delivers a rapid fire rap. As he sings “Cuz I ain’t so bad,” he must be winking and acknowledging the nod to Louis Prima. “Hey Jonny” quotes hey Ronnie” and has a spoken intro that reminds me of the Shangri-La’s “Leader of the Pack.” It’s a celebration of cheesy pop culture, with a post-modern revisionism, or its just hilarious dirty fun. Try to keep a straight face while hear the lyrics, “Hey Jonny he’s so fine, he’s so fine I wanna fuck him from behind.”
I listened to ska punk from california back in the 90s, some of these catchy zippy trumpet lines remind me of the thrill i felt when I first heard that sound: the rich white kid angst version of authentic jamaican music.  The closest this gets to it is “Sweet Spot,” with a very busy bass line from Disco Ronnie and some “ooh ah’s” delivered like emo “ois.” This would be a great choice for a single, as its free of curses, full of catchy hooks, and the tempo changes make it consistently energizing. Here the Stumblebums enthusiastically turn up the joy and invite their listeners to dance. This track is an inspiring demonstration as to why people play music- because its the second most fun thing you can do with your fingers, I mean lips!

For fans of: Cherry Poppin Daddies, Reel Big Fish, Galactic, but that marginalizes them too much, anyone who loves passion, and doesn’t mind foul language will love this disc!

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Feb 08 2011
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Regifting Frankensense

Here is a little show I did on Solstice, its 100% safe for work and Clean for kids and adults. Thank you Empress Theatre staff, and Mike Schaffer and Tyson Hanson for the video.

Here is a nice write up about it. thank you Glenn Burnsilver

http://mobile.newsminer.com/bookmark/10698735-Bringing-a-little-%E2%80%98Ha-Ha-Ha%E2%80%99-to-the-holidays-with-Re-gifting-Frankincense-

 

 

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Nov 19 2010
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Paragraphs, New drawings, comics

Paragraphs (Minneapolis, MN)
Come Nap With Us
unsigned
Recorded by Jacob Grun, Ryan Maier, & Amy Daml. Mixed by Jacob Grun & Ryan Maier. Mastered by Arun Antonyraj.

Paragraphs improve on their previous album You Can’t Make a Ghost Without its Sheet with a collection of five songs, each over six minutes, each a vibrant soundscape.
The album begins with arpeggio guitars and bells, haunting vocals come around three minutes in. The reverb is heavy on guest vocalist Jacob Grun Me and My Arrow)  and his relaxed delivery compliments the mood.
“Believeverything” has a bouncy delay on Chris Polley’s guitar and murmurs of math rock sensibility. This track reminds me of El ten Eleven in its scope and sound.
“We Talk About Enemies More Than We Used To” has a pop sound bringing to mind early Euphone recordings.  It changes gears at 1:48, from shoegazy rock to a thundering march, with a repeating optimistic guitar lick.
“Donna Martin Graduates” has more guitar gymnastics and a build from Dan Vogel’s drums. Suddenly at 5:31 the piece breaks away, and breathy synths and organs from Brigitte Mussack’s keyboard allow us to soar through the air.

The most exciting track is the last, “The Dead Of Night Has Never Felt More Alive,”  has many enticing changes, a crackling white noise that teases to steal attention from acoustic guitars and melodica. This track reminds me of Mum and Dntel in equal measures. This album is both delicate and playful. There is restraint from overcrowding the ears with excessive layers, and the pieces would be great in the background of  an indie film, one with snow, and people.

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Here is a collection of bands I have seen recently, enjoy. Included is Saucy Yoda, Bitshifter, Lavoy, Octopus Project, Whiskey Tango and many others

Oct 27 2010
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Jaquline, Thought Trade, Shilpa Ray, Grass Widow and more

CD reviews

Jaquline Ronneklew
Stockholm, Sweden

I caught Jaquline at an open mic in Manhattan. She performed two songs from her album with her sister Emma providing backing vocals. I immediately was reminded of  Emiliana Torrini, and Hanne Hukkelberg and shuddered as she completed her first song, thinking “I may have found my new favorite singer.”
Listening to her album I hear gorgeous affected vocals that are warm and sweet as a homemade muffin from grandma.  Then I hear her voice filtered through a sexy smile and can imagine a suggestive wink as she whispers lyrics like “I am the tiger, you’re the prey.”  She plays her nylon string guitar with conviction and determination, tenderly plucking the notes.
“Of all the Voices ” is incredibly sweet. With a tender vibrato on her enchanting, “you start a revolution without violence in me.” Her advice for surviving abuse and trauma is to  “give the pain a goodbye kiss.” It’s the kind of idealism that is great to hear, even if it can be hard to believe. This song will be a perfect fit for the rolling credits to some future Academy Award nominated dramatic film.
“We Can Dance” has a full band, with a backing choir, including her sister, and a joyous crowd of hand claps, tambourine and drum set. When she sings,”Let’s intertwine,” I release all tension and slump back in my chair, thinking, “oh yes, Jaquline, let’s.” Here too she urges us to make kisses our tools, “fight back, make a peace sign your attack.” It’s only a matter of time before she is signed and playing to huge crowds.

myspace.com/jaqulineronneklew

Thought Trade
Fallow
Fairbanks, AK

What is it about this town, frozen in the winter, inundated with sun in the summer, that results in a plethora of instrumental indie bands? We have lots of time, huddled up in our cabins to practice scales and write songs, and instrumental soundscapes seems an appropriate response to the forests full of snow beneath the star filled sky and the aurora borealis. I can think of a dozen, but of course, I was in two of them. Work, Thought Trade, Burn the Town Down, 4 out of 5 Doctors, Teleportation Ability, These Doors to Remain Closed During Work Hours, M Tentacles, Freight Train to Telekinesis,  Koto’s Sighting and In The Belfry (those two are actually from Anchorage… but still)
Thought Trade has been the most prolific of all, with seven releases in only five years.

Fallow begins with creeping palm-muted guitar sounds, like little critters poking their heads out of a hill.
Then… what is going on? Casey Smith begins singing, and he continues to sing the whole album through! His voice is a perfect addition to the melancholy space swells and wall of sound dynamic.
Penetrating guitars quiver and wash up in waves of tremolo; clever stops by drummer Travis Burrows make “Keep it as Straight as Possible” an intriguing journey. At 4:05 the mood abruptly changes and we introduce a melody that dances around familiarity. Double picking and tapping brings more mood and rounds out the composition.
It’s hard to tell which of the psychedelic head trip noises come from Travis’ Mandala Drum synthesizer, and which come from Aram Wool’s keyboard. “Misconception” stands out as an impassioned torch song, here, Casey’s voice, most closely resembles Tom Yorke’s, as if he is letting you in on some terrible secret, and you’ll never be able to return to a state of innocence.
“Mausoleum” brings to mind gentler songs from Radiohead’s “In Rainbows.” The drums don’t enter until 4 minutes in, the rapidly tapped guitar textures flex and fold.
Danny Opgenorth’s guitar work is intricate and exciting, sometimes precise, other times aleatoric, spastic and conversational.
This album is gratifying, even sublime with its variance in moods and stratification. The band has graduated beyond “jamming” and created rich compositions with vocals and an excellent mix.

http://www.rhtrack.com/tt

Shilpa Ray and Her Happy Hookers A Fish Hook An Open Eye
New York, NY
Produced by Jay Braun and Shilpa Ray
Engineered by Braun at Melody Lanes
Studio
Mastered by Warren Russell Smith at the Magic Shop

Here’s an exciting album from New York City from a band with lots of buzz and a reputation for wild shows. The drone sound is from Shilpa Ray’s harmonium (like an accordion that sits on a table). This band combines blues and European street music sounds with garage rock. They have been compared to Coco Rosie and even Janis Joplin.
The best track is “I’m not Frigid… Yet” with its throwback rockabilly sound and screaming lyrics about werewolves, shotguns and wild sex. It’s great to hear the boogie-woogie piano from Andrew Hoepfner and to hear the rhythm section drunkenly shout nonsensical back-up lyrics and howl like wolves. Meanwhile, Shilpa belts out, “If you want to take it in the rear, or do it till you disappear!” If only every track had the intensity and energy of this one, we’d have a contender for album of the year.
Jay Braun’s guitar solo on “Coward Cracked the Dawn” is spine-tingling. Another highlight is “What the Fuck Was I Thinking,” where Shilpa moans about falling in love and forgetting her family and even her children. It’s a disturbing thing to imagine, but not out of place in the genre of the blues. For a century, macho bluesmen have been bragging about committing violence from being drunk or lovelorn. Ray is claiming the blues for herself and borrowing from tradition. (Kepler Records)

http://www.myspace.com/shilparay

Grass Widow
Past Time
San Fransisco, CA

I am easily seduced by lush female vocals, and combining that with psychedelia is a sure way to please me. This album features heavy bass and three female vocalists, sometimes changing direction, intertwining and flirting around a straight melody. One voice is wavering and childlike, another is slightly operatic, and another is baritone and very confidant. Their simple guitar riffs and vocals remind me of Vancouver’s Cub, except these three ladies went down the rabbit hole of prog rock. Maybe it would help to imagine if Mia Doi Todd had three teenage clones, or collaborated with Sonic Youth.
The organ on “Submarine” and the surfy guitars on “Uncertain Memory” are fun additions, but the best divergence from the formula is the violin and cellos on “Give Me Shapes” (provided by Melissa Collins, Jesse Detwiller and Madeline Gonzalez). They add an impassioned intensity to the atmosphere.
“11 Of Diamonds” stands out as a poppy potential single. On “Fried Egg,” some of the voices begin shouting; while others lay down a harmonious blanket of melodic cooing. My favorite moment on the disc is the conclusion of “Tuesday,” where the guitar and bass cut away to reveal the three glorious nude voices. (Kill Rock Stars) 

http://www.myspace.com/grasswidowmusic

Bridget and the Squares (New York, NY) Recorded by Elio Deluca at Soul Shop in Medford, MA

Still Life 2010
Catchy female fronted Piano pop
key tracks: Savior, iFlab, You’re so Pretty.

Laura Bridget Regan alternates between full band songs and songs where it’s just her and a piano. Her delivery is gregarious, welcoming you into her diary entries. We might blush as we realize what she is saying: ” I wasn’t ready for you to treat me like a whore, its ok. I don’t remember your name anyway.”
She can write a song full of great hooks, I love when it sounds like she’s getting away with herself.
Savior and iFlab are a quick one two punch of quirky poppy singles.
The first has howling guitars and slamming drums that remind me of the best songs from Frankenixon, then the next one has a homey county guitar riff demonstrating Eric Rylie’s flexibility.

Recommended for fans of Fiona Apple, Casey Dienel, Ben Folds, Amanda Palmer

myspace.com/bridgetandtheaquares

Zee Avi 2009

Self Titled, Brushfire

One of my friends told me exactly what she wanted out of dating, to lay around sunday afternoons with her girlfriend, listening to music and making out.
I would recommend to her this artist, maybe alongside Jaymay and Thao and the Get Down Stay Down.  Stand-up bass and gently strummed guitars, gorgeous female vocals and occasional florishes from clarinets and trumpets, sounds like some excellent make out music to me!

Oh but the lyrics are sad, so very sad. “Darling you don’t deserve me, you don’t deserve my love.I had plenty to give but you shrugged it off.” In this song she tells how she is fed up with her lover’s crap and she is moving out.  “Don’t think I don’t know about the hair on the pillow. Seems like what we had was just a show.” When I write these lyrics down here, it just sounds like a jaded lover stating her reasons for leaving, but when Zee sings it, its compelling. There is a recurring element of infidelity in these short stories. It comes up again in Kantoi. “Even when you were by my side I shed tears I couldn’t dry.”
A gentle clarinet plays a simple melody along with her poetry, but then a lonely muted trumpet says what she can’t with english words.
Many of Zee’s songs come together and make a narrative of a romance falling apart.  The Story of You and Me is set to  a Wulritzer and guitar and Is This the End continues the bittersweet tale.
Honeybee doesn’t fit in the narrative, as its just a sweet song about stealing her lover away from the queen! But they can make their own honey in their own tree, so I think it will work out.
Let Me In concludes the album, with a tear wrenching piano arpeggio. Its simple but not lacking.  Her lyrics indicate maybe there is hope for this couple who has been through petty arguments, neglect, cheating, and opiate addiction: “maybe we can try to be better this time.”
First of the Gang also stands out from the narrative, for being a Morrissey cover, she utterly makes it her own. Perhaps there was some gang warfare in Zee’s home city which made this sad “Romeo and Juliet” tale appeal to her.  Turn this album on and make out to your sweetie, or watch rain fall from and sip some green tea.

zeeavi.com

Bacuntry Bruthers, (Fairbanks, AK)
The Good the Bad and the Ugly 2009

It certainly sounds as if alcohol had a influence on this record. Some songs sound great, others make you scratch your head, and ask why did they choose to include that recording? Satisfaction has perky gangly ska guitar, and fun rambling trumpet lines. The bruthers are joined by Juicy Lucy on flute, who provides counter melodies to Emmit’s horn.
Hesitation Blues has a skit in the beginning, which is a fun nod to their live show which sometimes had pauses in the songs, scripted conversation and jokes.
Emmit’s Rap starts the album, it was always a popular part of the live show but probably should have been left to a b-side collection, its more than a reference to the Beastie Boys, more like a cover with a few new lyrics.
Moonshine was always a live show highlight, we are graced with a pleasant and sweet version, with Emmit and Huck’s voices blending, joined by a couple of ukuleles and a kazoo. Here we find some of their most sexual suggestive lyrics “I can’t see you, but you look allright. I don’t care about what you’re wearing- all I think about is whats under there- pour me some moon shine under the moonlight.” The ukulele really adds a bouncy, happy go lucky feel, and give the jokes some breathing room to allow us time to laugh.
In the Pines has a very strange live mix, with the vocals too low.
Mister Mister has a great mix, with Bucktoof’s vocals joining in as well. Her drumming, pounding on a washboard, bottles, cans, and kitchen appliances is gleeful and energetic as always.
The album concludes with a tribute song to the Golden Eagle in Ester, AK. They have some drunks singing along, and the audio clips It sounds as if Huck is making the lyrics up as she goes along, sometimes she flops, but who cares?
I think this was their only real album, so it confuses me as to why they didn’t include more of their fantastic original songs when they had the chance to do some studio time. Prominently missing is Don’t Hate the Playa, Ballad of the Ex Lover, Walking in the Snow, and Nice Guy. If those had been included, and some of these weak tracks left off, they would have left behind a great legacy. Here’s hoping they reunite and release a proper album with all their best songs.
The combination of the goofy lyrics, self-aware curse-filled commentary, and cheerful banjo and guitar chords make half the tracks a fun listen. The other half… uh? What? They did name this EP: “The Good the Bad and the Ugly.” Maybe they were referring to the sound quality. Oh well, drink some godawful swill, put on a Ba’cuntry Bruthers cd and find yourself a “soulmate for the rest of the night.”

FFO: The Asylum Street Spankers, The Ditty Bops, Old Crow Medicine Show, Folk Uke.

myspace.com/bacuntrybruthers

Rebecca Menzia, Fairbanks, AK.
(2010)
Baroque chamber pop, operatic vocals and intricate loops.
Key tracks Your Grace, A String of… , 5 years time

Rebecca Menzia moved up to Fairbanks a few years ago and has played as a guest in several bands, pick up leagues and founded Feeding Frenzy alongside Ephy Wheeler Ryan Bateman and Dan Firmin. Once she frequently opened for much louder acts, including Paper Scissors and Work. This cd acts as a document reminding us that her solo show was one of the best this town had seen for many years.
This album’s aesthetic is very busy-  the first track lets us know what kind of an journey we are in for, with piano arpeggiator sweeps and Menzia’s operatic voice telling us with intensity about…. something. What she’s saying is never as important as how she says it.
I have seen Rebecca recreate songs from this album with a looping pedal and its impressive.
Five Years Time is catchy and has multiple intricate banjo overdubs, sometimes they clip and result in chirping sounds. It would be great for her to rerecord this with someone experienced in recording banjo- maybe a folk or bluegrass specialty sound engineer.
A String Of has a repetitive nylon string loop that reminds me of Coco Rosie, here the overdub vocals work to excellent effect.
Silk Worms is a breath of fresh air with a much less busy mix, some gently plucked guitar and soft synthesizers swell.  We are closer to Joanna Newsom territory, Rebecca’s flexible tempo gives room for her affected voice to deliver lyrics. She sings her own backup vocals, and on this track it works to best effect, as each vocal line comes through clearly, and feels equally important.
Her control over her voice is complete, she demonstrates choral acrobatics on No Ends. The loop repeats a half dozen times, growing ever more hypnotic and entrancing, then pieces fall out.

I have heard her play Your Grace live a half dozen times, on the record it gets a loving treatment: there are impeccably placed mandolin melody strains, draped over the looped riff that is harp like and contemplative. We could waltz to this song, or drift off to a delightful kingdom of dreams.
Accordion joins the mix in Dressed, She asks what currency do you accept and offers cocoa beans, tea leaves, Opium and various other ornate collectibles. including weapons and even her body.

FFO: Coco Rosie, Emiliana Torrini

Grand Ole Party,
Humanimals 2007
San Diego, California
KeyTracks: Look Out Young Son, Nasty Habits, Gypsy March, Redrum heart
Female-fronted  70’s style freak out blues songs, but poppy and brief.

A lot of hoopla surrounded this band just because they had a chick drummer who sang, Kristin Gundred. I never got to see them live and I heard they broke up so I’ll just focus on the songs: the 70s style production (by Rilo Kiley’s Blake Sennett) the lyrics, and the riffs. The band is going for that 70s sound, and they have some songs that sounds like if Led Zepplin had a female singer and wrote short pop songs.

I hold a little resentment because I stood in line to see them in New York, when they were the opener for Longwave, I wasn’t interested in the headliner but the show was sold out…

With pomp, bravado and hubris, Kristin starts the album with quite the bang: telling the story of someone’s conception! Gyspy March has the lyrics: “I was conceived in the morning sun, spontaneous combustion! They say they felt their hearts give way when I began to take shape” (She kind of thinks she’s a big deal) “I was born in the swamp, the summer spawn of the hottest heat. My father was a rolling tramp my mother was a gypsy sweet.” Kristin seems to believe she’s the devil’s daughter and she will tell you that up front.

Redrum Heart has a ripping solo from John Paul Lablno . You can believe your listening to the radio in 1967 with dumb lyrics like, “You dug my shimmy shimmy, but you wouldn’t gimme gimme!” Her delivery is so fun as she belts out “end of this thing we call love” and the tambourine jangles and the band does quick stops emphasizing her shouting.
Roll on Down has dripping wet guitar tremolo plucks, and a much more chill mood. look at the band of travelers you’re with would you risk your life to save theirs. lookhow my legs seem to move on their own without much prompting from me

Nasty Habits is the primo example of their style, with the guitar playing a constant string of riffs that complement the vocals. At first she seems to scold like a matronly teacher, then a sympathetic hostess “What’s the matter with you that makes you settle for another point of view when yours would do better? When did you decide to please forever, and always brush aside your secret pleasures? ” The bells, (or is it a rhodes piano?) on this track accentuate her vocals and make a

“Love lust nasty habits make us who we are, love lust nasty habits take us very far underground.”
then theres a fun little break down:  “If you want to be with me, then honey just say the word: Cuz all this name calling and game playing is so god damned absurd.”  Haven’t we all thought something along those lines in the adventures of courting?

Every song is solidly grounded in the blues, but there is some rockabilly elements  in here, and a dub song too with some social commentary in the lyrics:
“I was watching TV, they called it reality; and I wondered is it really me who’s sitting here?” This album kicks ass.

FFO: The Dead Weather, Janis Joplin, Jefferson Starship, The Pack A.D. The Black Keys, Shilpa Ray and her Happy Hookers, Yeah Yeah Yeahs

myspace.com/grandoleparty

Casey Dienel (New York, NY)
Wind up Canary 2008
Fun, cabaret piano pop.

Dienel’s compositions are fun and bright, her sense of melody whimsical. Her lyrics tell stories about eccentric and interesting characters. To me this album is like a long lost friend. I can imagine myself listening to this in 30 years and thinking of it fondly.
Highlights are All or Nothing, which sounds like a lost Carole King composition and the adorable,  Baby James which reminds me of the Asylum Street Spankers, (maybe its the clarinet?) Doctor Monroe, and Frankie and Annete are rich short stories set to cabaret music. The Coffee Beanery exudes cuteness and belongs on your mix tape to your secured crush!!… Stationary is the only song on guitar… and its a dreamy summer love lost song… Is she still bemoaning losing the James mentioned in track 3? “I can’t shake you off, no matter how hard I try. Can’t just pick up my pen and write about something else.” I don’t mind the cliche of a songwriter writing about writing songs when its delivered with her friendly and inviting voice. Though Dienel is the star here, there are fabulous performances on drums, bass and other back up instruments.

“Fat Old Man,” is her most Regina Spektorish song, its flowing chord progression, sentimental delivery and lyrics may make you cry.  Though she describes the death of a boy in a houseboat fire, and an impregnated woman abandoned by her lover, she seems to always be wistfully smiling. Telling us of the american landscape and the emotions felt by everyday people like a youthful Tom Waits.

Dienel reminds me most of Blossom Dearie with her optimistic delivery and bright voice. Maybe a little like Nellie McKay when she reigns in her imagination and creativity and actually writes a pop song. This album is awesome, with a wide variety of moods and imaginative lyrics that tell stories you won’t mind hearing again and again.
myspace.com/caseydienelband
Mia Doi Todd, Los Angeles, CA.
Come Out of Your Mine (1999)
Creepy, Introspective math folk

There is something etherial about Mia Doi Todd’s baritone makes me think she’d fit right in at a chic art gallery or experimental film; it simultaneously makes me shudder in awe and makes me feel comforted.  Here are twelve intelligent and ascerbic lullabies, demonstrating very postmodern songwriting, and post-folk (or is it math-folk?) accompaniment.
This album is a shimmering star that proves songwriting isn’t dead, or dying. emphasizing mood and ideas over rhyme. Todd’s complicated vocal melodies are delivered with impeccable diction and poise, sounding more like a queen addressing her minions than a poet reciting to an audience.  This album was recorded it a chapel and the reverb is very organic and adds much to the mix. Her musical accompaniment is textured and minimal. sometimes approaching acoustic math rock, especially on ‘Strawberries,””Jackals, and ‘I’ve got a Gun.
Each song is remarkably different in subject, though similar enough in tone to make the collection cohesive. In Jackals, she describes a naive child discovering the world of fantasy; “Not yet understanding the proper way to read the girl interprets the words as fact.” In this song she pulls references to Alice in Wonderland, Pinocchio and Dr. Jeckell and Mr Hide, making it a kind of Joseph Campbell-esque essay with gentle strumming.
She can get quite wordy sometimes, take this lyric for instance; “Green beans in profusion long and straight burdening the vine like a weeping willow. ripe tomatoes red and sweet perched upon their furry stalk begging you to pluck.” I don’t mind the rushed feel to these lyrics as her vivid descriptions paint a picture in my mind and he diction is perfect.  She describes walking through a lush garden and then sharing a strawberry with her lover, “Alternating bite by bite until it was all gone.”
Lyrics come across as sincere and genuine, though some seem to have the freshness of a first draft, and others may be excessively labored upon. I can’t help but wonder if there could have been a more artful way to say: “Theres a man I’ve just met, he hasn’t kissed me yet, he reminds me of someone else only better.” “Save Me” seems to be the simplest and freshest of lonely love songs, without the pretentiousness or literary verbosity of the other tracks.
I can’t say every song is a resounding success, however; “Age” is a short poem delivered acapella, a sensuous meditation mourning the absence of simpler tasks such as minding sheep, and pleasant surroundings like pastures. The puns are kind of obvious and cliche; Mrs. Todd, cuteness doesn’t suit you.
I’ve Got a Gun may be the least “subtle” of these songs. Men and women commit violence to each other, or threaten to, “And then we will both be too dead to see freedom coming over the mountain.” Here, there is no grace to the delivery of her message.
The last song is the longest, describing the water cycle, a tear, the river, streams and the ocean. Its hypnotic use of repetition and grandiose arrangement make it one of the strangest folk songs your ever likely to hear.
I prefer this album to “Golden State,” that record seemed to be demonstrating competent music production and arrangement, but I prefer the stripped down compositions here. We can imagine we are in the chapel with her, and she’s playing to a small crowd, too enraptured to interrupt with applause. I’d recommend this album to anyone who likes modern folk artists like Joni Mitchell, or Greg Brown, and to the snobby indie kids who listen to the Microphones, Rufus Wainwright, Beth Gibbons, Elliot Smith, Emiliana Torrinini, and My Brightest Diamond. There may be a touch of Coco Rosie, Laurie Anderson and Bongwater in the mix as well.

myspace.com/miadoitodd


The PACK A.D. Funeral Mixtape
Vancouver, Canada.
Mint Records

Key tracks: Don’t have to like you, Oh Be Joyful, Shiny Things
Ball Breaking huge BLUES RIFFS and tender optimism from a banshee of a frontman, and  a fucking TRAIN of a drummer.
Heavy guitar riffage and Beckys voice shouting is in nearly every one of these tracks. Oh be Joyful alternates between chunky riffage and soulful singing, demonstrating Becky’s style downplaying the guitar when she is singing, and then letting it rip when her vocals take a break. Cue Headbanging.
Shiny Things gives us a chance to come down, and a bottleneck slide establishes a much more relaxed mood.
She almost seems to mock male blues musicians with her lyrics “look at him drumming, little drummer boy.” She isn’t saying it with words- but her tone implies “oh you’re in a band huh? you aren’t as heavy as my band. You call yourself a band?” Dannemora Blues really reminds me of The Black Keys. This band is a real powerhouse live, catch them if you can.

myspace.com/thepackad


Frankenixon.  Des moines, Iowa. Bloomington, Indiana?
Depth Perception/ Amorphous
Key tracks: Posers, Love this town, graceless and Unusual, Rhodes, word to confuse, Impasse, Due Process

I am a big fan of unique female voices and clever lyrics, on the other hand, I adore keyboard heavy improvisational jam band music and prog rock, what a fortunate coincidence that there would be a band out there that combines these two disparate forms! Frankenixon is one of my favorite bands, a shame that they broke up and don’t return my emails, but I have the albums that I can listen to to my hearts content. I guess they became Sword of Exactly and played at The Stone recently? Who was there?
Each album has its own strengths, and I’ll review them together in the hopes that some new people will be drawn to dark side.
Front and center in the mix is Evelyn’s voice, and she’s not afraid to be unique. Whether she is telling us personal details of her friends sex lives or reminding us that we can’t die in a dream- her tone is consistent and strange. The first three tracks are each pop masterpieces, getting more intense with each step deeper. Face to Match has an awesome jazzy piano riff.  I love when the snare starts cracking in Graceless and Unusual. It sounds like a thunderclap.
Posers slowly builds, like a Queen song, opening with a dreamy climbing piano riff,  then percussion builds, a strange alien sound that might be a guitar or a synth, then has the hugest chorus section imaginable, fuzzed out bass, and chirping moog leads and a synth whistle that resembles a tea kettle!
I’m not sure what the narrative assembles. Some kind of discussion of a past relationship “who these people are posing as us?” It teeters between found poetry and the sentimentality found in a greeting card. “though I had promised this weed to my brother, I’ll wager my greatest treasure is you.” Its not clear if she’s talking to an exboyfriend or a child, lines like, “No need to coax you away from your play,” really confuse me.
Ovaries and Testes are both aimless jams, but Interlude is an impressive Kaki King-like acoustic guitar solo piece.
The last track, Love this Town, is a ballad about growing up in a small town.  I adore the lyrics and the strange stories they hint at: “You aren’t listening so I’ll agree that Nora’s such a whore. You know she had that kid and she did so much acid. But her brother was kinda fine.” These lyrics sound like people reminiscing about high school friends over coffee at Denny’s at 3 am. The charm in the unpretentious, conversational lyrics really remind me of Tom Waits, and the jammy head banging keyboard riffs make this album a blast start to finish.
Then Amorphous is a different beast altogether, as different as sophomore albums come. The first album had many songs that could be “singles,” catchy and bouncy but never giving up unique elements. The second album is sometimes a difficult listen.
I love the way Evelyn Finch shouts “if we had good tattoos maybe time travel would be possible,”  in Word to Confuse. This is unfortunately the closest we come to “fun” on the whole album. This record is a much more textured, but dour and gloomy affair than Depth Perception.
Loathing starts with a drunken kind of shuffle, the guitar howls from Joe Kiplinger sounds similar to the last album. After some gloomy lyrics we are in an mediocre groove for awhile… then at 3:43 the song derails completely and we are left wondering why did it taper off?
At 2:20 Neurotic/Cynical #1 starts to get exciting with climbing arpeggios, the riff goes too long though. One of the Clock has a tempting math rock groove that almost makes it. Due Process hints at the pop of their first record, bass fuzz, and staccato piano chords could remind you of Ben Folds Five. It still fails to really click as a success though. I Have No Idea is an impressive guitar instrumental, kind of a lullaby. Impasse has seemingly the same riff as One of the Clock, five songs ago… hmmm… then at 1:17 it begins some epic Yes- like riffs, tempo changes, crucial, mountain climbing, torch wielding riffs. Its an impressive piece, probably the best on this second album. Though she hinted at melancholia on the first album, here Evelyn is laying down the existential ennui a tad too thick.
Then the album conclusion is Rhodes, an instrumental track with a lick that gets stuck in my head. It has some more math rock and jazz elements. Final analysis Awesome poppy first album, interesting, difficult second album.
myspace.com/swordofexactly
bifirecords.com/band.phtml?a=frankenixon

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Oct 25 2010
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Netherfriends, GOD, Shotgun Party, Lorraine Leckie and her Demons, The Fools, the Moon Knights

Shawn Rosenblatt of Netherfriends (actual CD art unavailable)

Netherfriends
Home Is Where My House Is
Chicago, Illinois
Delightful zippy indie pop!
One cant fault Shawn Rosenblatt for being happy! He has come across a wonderful formula for songwriting, so let him milk it all the way to the top!
On “Nunya (beeswax)” layers of percussion and party vocals convince the listener to celebrate and we build slowly to gleeful climax. LFO synthesizers compliment jangly guitars and constant tempo changes. Sound effects and zappers join acoustic guitars and pitch shifted delayed sounds to a whispered lullaby ending. It’s almost hard to call this a “song” but its certainly a wonderful way to start an EP.

The strongest song is “Stop Smoking A$$hold, Cigarettes” He tells us a familiar story about falling in love with unpretentious methods. ” I just want to take you out for some indian food and learn what you’re all about. Let’s listen to records while we lay on the floor. I wish falling for you didn’t hurt anymore.” Who wouldn’t want to have an affair with this guy?

“Tac Tac” is another catchy number, accordion and female vocals bring an enjoyable lightness to the composition. We hear a choir and glockenspiel pleasantly bopping along and cannot help but bob our heads. He delivers with impeccably chill lightness lines like,  “you live with your parents on their inheritance. you spell the words you cannot say to me, Y-O-U C-A-N-T S-I-N-G”
In “Cory Kennedy Sings the Blues,” Shawn gets truly philosophical and abstract.
“Fashion trends and music trends and it never ends, I’m going to stay at home and never talk shit about anyone, I’ll make some friends and I’ll lose some friends and I’ll make new friends.” He meditates on experience, is he talking about the indie DIY music scene? Cinematography or buddhist meditation? Does it matter? Its a song, its a chant, its a philosophy, its an anthem. “Its all image and sound, image and sound.”
He reminds me of Sufjan Stevens and Harlem Shakes. Others have compared him to Animal Collective, but I gotta say, he’s much more “listenable” and intimate. Keep going, Shawn! And catch him live if you can!

myspace.com/netherfriends

GOD, Austin, Luke, Ian, Quinton, Tracy. (actual cd art unavailable)

God SIN EP
Seattle, WA.
No label.
Dancy,fancy shmancy disco punk

Seattle’s God has released their first EP, a fun and strange collection of songs they call “SIN EP.”  “No.No.No.Yes.Yes.” starts things off with frenetic disco punk rhythms, a catchy guitar and poppy vocal delivered with snotty enthusiasm by Ian Lesage.
It isn’t until 1:34 that we hear the strings come in, courtesy of cellist Tracy.
“I love love this generation, we got the best music, we got the best clothes,” Ian mocks, crocodile tears pouring from his eyes. A common theme in his music is deriding hipsters and trendy music fans.
There are moments of tenderness with only a glockenspiel and vocals, but they last only for a brief moment.
“How can we think that we are the best thing to ever come?”
“How Many Sleepers” almost sounds like a Radiohead b-side.  Demonstrating some influence from Yes or Genesis?  Is that a mellotron choir sample in there? Maybe Ian is mocking the 70s as well.
“Here’s my best shit: eat it!” ” The meaning is lost on  you all!” are some more examples of these vitrolic lyrics that Ian flings at his listener.
“Spreading at the Legs of Cancer” is my favorite, the cello is really important in the mix and plays interesting textures, the lyric hook is even pleasantly catchy!
“recycle. rinse. repeat. end.”  Is much more relaxed and spacey than the others.  Delayed drum machines and synthesizers set up a spacey mood while icy cold guitars creep in. Here Ian finally relaxes his voice and sings in a gentle whisper.”Read directions, take instructions, tear apart this broken future.
“Anti Robotics” has hints of a narrative, maybe a future cd could be a concept album with a plot and characters? The dramatic delivery and instrumentation would lend itself towards that. “She’s smarter than me, she works in a lab.” Here, multiple layers of strings and synths provide a welcome, near shoegazer sound, but the vocals are firmly in the punk tradition, they couldn’t have been delivered with anything less than a Messerschmit grimace, the vocalist about to pass out from exhaustion.
The result is an engaging album with varied moods, the lyrics can feel excessively preachy sometimes, but we all like to hate hipsters… as long as he isn’t talking about us! That is the trouble with such lyrics, how to know how the audience will interpret them… listeners may find themselves asking, “is he talking about me, or the people I dislike?” I usually prefer to hear music where the vocalist has an optimistic message, but a little sardonic humor and anhedonia have its place sometimes. If you listen to just one angry album this year, make it SIN EP from GOD.

This band is also featured in a full length movie called “5$ Cover” by Lynn Shelton.
catch it on MTV or look it up on the internet.
http://www.fivedollarcover.com
http://www.myspace.com/godinholyhell

Lorraine Leckie and her Demons: Four Cold Angels

Lorraine Leckie and her Demons.
Four Cold Angels

New York City, NY

Lorraine has a dry delivery, encouraging the listener to crime on  “Getaway Car” seem inviting and eerie.
Rambling country guitar from Hugh Pool, and a pleasant shuffle from Paul Triff make  “Four Cold Angels” a fun ride. On “Drivin” she asks, “how good can a woman feel?” But it isn’t clear if she’s asking “how much pleasure can I experience?” or asking a potential lover, “how nice would it be to have a woman’s touch tonight?”
That kind of lyrical ambiguity, along with delightful synesthesia such as describing the taste of the Ontario sky make this a poetic album you will want to come back to repeatedly.

On “Ontario” she allows her band to kick it up a notch, delivering a truly rocking track with some of the best lyrics on the album and the most exciting guitar dexterity. We all have some nostalgia for our home towns for sculpting us into the personalities we display, she sums it up well with lyrics such as, “you learn to be humble in Ontario, you learn not to stumble  in Ontario.”
Her style, mixing country and indie brings to mind the Cowboy Junkies and Liz Phair.
http://www.lorraineleckie.com

Shotgun Party
Mean Old Way
Austin Texas
Co-produced by Shotgun Party and Mark Hallman
Recorded at ?
Key tracks- Paints A Yates, the Builder, Star Song, Run n Hide

This Austin three piece tours all over the states and keeps churning out hits. I wish they would come to Alaska and share their special recipe for musical thrills with us.
The catchiest track is “Paints A Yates,” “buy a smoke and bottle, get my man and go” is a great hook, and Jenny Parrot’s cheerful, friendly voice is warm and appealing. She makes you want to jump in a car with her and speed off, commitments be damned! Or should it be a horse drawn carriage?
Shotgun Party’s short pleasant pop sensibility nods to great songwriters like Patsy Cline and Sam Cooke. Stanly Smith’s clarinet on “Run n Hide” adds an impeccable class and Jenny’s delivery is confident, she is unafraid to break a note over her knee. “Y Yo” has a different feel than the others, a wistful, mournful delivery and staccato bursts of energy. Confident stand-up bass from Chris Crepps keeps energy high and the songs moving forward. “The Builder” is another stand out track, full of hooks and pleasant choir “aaahs.” “Canned Peaches” is smokin’ hot, with a few lyrics that make you ask, “did she really say that?” “now I’m making syrup on their thighs.” I’m not sure what that means, but it makes me feel a little dirty.
“Star Song” is also filled with joyful hooks, the energy of a Texas honky tonk meets the optimism of a children’s song. “I was a star, and I will be a star again.” You’ll be singing it to yourself, mark my words.
Katy Rose Cox’s violin is absolutely screaming! “Moonlight” is a familiar cover, but with the frenetic fiddle it sounds like a new song. There is a fun and unpredictable fiddle solo on every one of these songs. She plays faster than a hummingbird flaps its wings on “Draggin the Bow.” “Tanya” has some tango-like passion, and we are fortunate they decided there was room for these violin-focus tracks on the album.
The combination of Jenny’s personality, her pop sensibility and the dynamics of Katy Rose’s fiddle make this a top notch record: an improvement over their last, and a must for fans of original country and western swing. The 17 songs never seem like too many, you just want the album to go on and on.

cdbaby.com/cd/shotgunparty2
myspace.com.shotgunfiesta


The Fools, Lost and Found

the fools (cd art unavailable)

New York, NY
Recorded by Cliff Kaplan and Misha Volf at Hart Studios and live at the Bowery Poetry Club.
Brief, lovingly crafted, insightful songs about people and feelings.

Honesty, integrity, and a loving tone. I feel like I trust the vocalist that everything she tells me is true. Jen Tobin’s vocals and guitar are joined by lively bass from Uchenna Bright, and occasional samples such as an alarm clock and sounds of a beach.
I was surprised to hear drums, as I have heard this band several times and never seen them play with a live drummer. The drums may be mixed a little too loudly, as they overshadow Jen’s vocals on the first track.
“The Dream” is the longest song here, most fall under 2 minutes. Here the mix is perfect, a delightful gentle pop bass line fulfills the collusion between ambiance and mood- guitar and vocals have a generous touch of reverb, and the lyrical message is delivered impeccably.

“Oh Darlin”, is another great song they choose to put in the conclusion. Not the Beatles song, but an underscored poetic little ditty.

These songs are so not “in your face,” they are never intense or immature, but they are totally immediate and relevant. This is a true “alternative” music, a music that doesn’t pretend to be more than it is or try to indoctrinate or convert the listener. The songs succeed completely and on their own terms, with a charm and inventiveness that’s completely unique.

“The pillows on your bed are getting in my way, so let’s break our hearts just to do it.” Maybe this lyric encapsulates Jen’s attitude towards love, and even songwriting, maybe not. But when your lying back in a grassy field, listening to The Fools on your head phones and daydreaming about love, who can blame you for being idealistic?

myspace.com/thefools_lostandfound

The Moon Knights

One Must Die

No label
Anchorage, Alaska
More joyful cacophony from Anchorage
Spiral Song starts the album off with a bouncy drum beat and lazy vocals. “I love you so much that my skull makes weird sounds.” Lester croons unusual lyrics with a familiar melody.
As on previous albums, Julie and Lester trade duties on lead vocals, but their style has merged due to each other’s influence, and it isn’t always clear who it is who sings. Both sing through overdrive pedals, providing a trebly bullhorn effect. Drums and guitar combine in perfect smashing disharmony.
There isn’t much saxophone from Ted on here, though he is an essential part of the live show. Adrian’s drumming has improved remarkably since the band began. “Blood Box” has some beatnik appeal, with busy bass, and half spoken  vocals,  reminding me of the weirder early tracks from They Might Be Giants albums.
“Skin” is a farewell to good friend, the most tender of the album.
“Believe My Love” is my favorite track, with bending guitar chords, and coquettish vocals from Julie. She murmurs “I’m just so angry all the time.” Is she singing from the perspective of a girl at 6 years old? a pre teen? or an adult who has an axe to grind? it isn’t clear, but it also isn’t important. Nothing is important: nothing that is, except downloading the Moon Knights new album and pumping it on your car stereo in between petty acts of vandalism.

Reccommended for fans of Parenthetical Girls, Xiu Xiu, Bikini Kill, Be Your Own Pet, The Velvet Underground.

This album is available free at:

themoonknights.bandcamp.com

myspace.com/themoonknights

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Aug 29 2010
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Busy September and October

Hello kind web readers,

I have many  band events scheduled for September. then I am going to New York in October to play some shows with Craig and attend the New York City Comic Convention.

September 3 Paper Scissors at the Pub in the Wood center, Free. with special guests: Dan Vogel, and Carey Seward.

September 4 Night of the Iguana at Katie’s house, (last show, Chris is off to Australia, Sergio is off to Anchorage, and Craig is moving to New York.)

September 10 Paper Scissors at College Coffeehouse, opening act Rebecca Menzia File.

September 11 at the Dog Mushers hall, opening acts: Feeding Frenzy, Eating for two, Lester and the Hoax, also appearing FIRE ISLAND AK.

Around September 17 and 18 Chicago band “Netherfriends” is visiting Fairbanks, and they will have Feeding Frenzy open:

myspace.com/netherfreinds

facebook.com/feedingfrenzyak

I will “probably” interview netherfriends on KSUA on one of those dates, and Paper Scissors will “probably” open for Netherfriends at a party at  Rebecca and Chad’s house.

September 24 and 25 at the Marlin with the Fleur de Mal burlesque troupe.

Nappy Roots is coming to UAF and playing september 24 with opening act Alaska Red.

I will be flying to New York, and attending the NY Burlesque Festival and the New York City Comic Convention. I also have managed to finangle some shows while I am there, and I am very excited to play with some excellent musicians. Craig will be with me, and we will play songs that I have worked on in all my projects, from “Four out of Five Doctors” to “Isaac and the Awkward Situations, “The Lithe” and of course “Paper Scissors.” We will also have our third cd, Never Surrender available for sale, which contains many of my compositions, including “Pauline,” and “Lost in the Crowd.”

October 6, 10 pm at Ottos Shrunken Head, opening for “the Stumblebum Brass Band”

myspace.com/stumblebumbrassband

October 7, 9 pm at Northeast Kingdom, this is an “acoustic show.”

October 9 at Goodbye Blue Mondays with The Fools

October 12 at a Parkside Lounge in Manhattan

October 14 at The Randy Savage School of Rock.

myspace.com/thefools_lostandfound

October 17– I will have a 8- 10 minute stand up comedy slot at “Alter Ego” with Killy Dwyer  and many other comics

October 19… house party in Seattle?

If we get more shows, house parties, etc… I will post them at myspace.com/paperscissorsalaska

Thanks for reading, come up and say hi!

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