Interview: José González

This feature appears in today's Washington Square News.

Heartening news, fellow students: If the school thing doesn't work out, you can always follow in José González's footsteps.

González broke out of his native Sweden with the release of his 2005 debut album, "Veneer." But when he realized he could not play music and maintain his studies in a doctorate program in biochemistry, he choose the guitar pick over the test tube.

This versatility translates to his music. González is often compared to the late acoustic master Nick Drake, but strangely enough, he started his musical career playing bass for hardcore bands as a teenager.

It's difficult to recognize this influence on his second album, "In Our Nature," which is based on the same sound of "Veneer" - soft acoustic guitar and hushed vocals. But González hasn't completely shed his more abrasive roots, especially lyrically. On the album's first track, "How Low," González sings the line, "Absorbed in your hustling/Feeding a monster."

"The lyrics came out similar to what I used to write in the hardcore band, this kind of angry and accusing tone," González said. His rage isn't directed at anyone in particular, as he describes parts of the album as "yelling in the air about humanity in general."

Not satisfied with catharsis, González was also influenced by evolutionary biologist Richard Dawkins' book "The God Delusion," and ethicist Peter Singer's "Practical Ethics." "I like playing with symbolism," González told British music mag NME. "On this album I've wanted to bring out the primitive aspects of human beings."

Recordings took place again in his hometown of Gothenburg, but the process evolved despite the territorial confines. "Veneer" was more or less a solo project, with only Stefan Sporsen contributing on trumpet. For the new album, González enlisted percussionist Erik Bodin and singer Yukimi Nagano, members of the band Little Dragon.

The two have also joined González on his current tour, but will miss the last four shows so they can play in their own group. Although he has years of experience playing alone, González said it is difficult to entertain an audience for more than an hour.

González keeps the audience's interest by performing other artists' songs. He covered everything from Kyle Minogue's "Hand On Your Heart" to Joy Division's "Love Will Tear Us Apart." After receiving positive feedback for his live cover of Massive Attack's "Teardrop," González said he felt comfortable enough to include it on his new album.

Although substituting the spacious drum machine beat for González's guitar plucks was not much of a divergence from the original, González's only fear was that the track would sound too forceful on an album characterized by restraint.

"It had almost a grunge element to it," González said.

His original success stemmed from doing covers, and had much to do with a cover of fellow Swedes and Mute labelmates the Knife, toning down the synth-pop song "Heartbeats." The track gained popularity through radio play in Sweden before it was picked up by shows like "Scrubs," "The O.C." and a Sony Bravia television commercial, a move González has mixed feelings about.

"I don't really like commercials at all," González said, but he felt the advertising move was justified "as long as it's not too controversial and it's done tastefully."

When he isn't supporting his own releases, González plays in the instrumental trio Junip, a project he plans to focus on next summer. He has also contributed to Zero 7's 2006 album "The Garden," and in what was perhaps poetic justice, the album included a denser reworking of "Crosses," which originally appeared on "Veneer." His extensive involvement in music is a testament to his commitment to the art.

"Ideally, music would just spread wildly and get to the people that are interested without invading," González said, though he added that he's still opposed to illegal downloading if it goes against the artist's wishes.

But on a more universal scale, González is an egalitarian at heart.

"I see very positive tendencies of culture and education becoming less expensive and more accessible to everyone," González said. "In the long run it would be a better world if there was more cultural exchange."

González, with his Swedish home, Argentinean roots and forays into both electronic and acoustic styles, practices what he preaches.

--

Thanks to Chris and José, who plays at Webster Hall on December 9th.

MP3: José González - Teadrop (Live)
MySpace: José González
Official Site: José González

Yeah: Daft Punk's Alive 2007

This review appears in today's Washington Square News.

Despite not releasing a proper album since 2005's "Human After All," Daft Punk has become more relevant in the last two years. In the midst of a successful 2007 tour, the Parisian house duo commemorated their hometown show in June, releasing a recording of the performance as Alive 2007.

Instead of a straightforward set list, the album features tracks welded together, as the group mixes two or more songs in each sequence. Opener "Robot Rock/Oh Yeah" begins by sampling "Robot" and "Human." As the rest of the instrumentals arrive, the two samples overlap. It's a fitting introduction to a performance that melds mechanical beats and distorted human voices, just as the duo performs in trademark robot suits.

"Touch It/Technologic" is built on the rhythmic chant of the former, while acknowledging the Busta Rhymes song "Touch It," which contains a sample of "Technologic." The prominence of vocals distinguishes Daft Punk from many of its peers, and the fact that other artists sample the material is a testament to Daft Punk's success. But instead of resting on their laurels (or laptops), the duo's bold mixing makes Alive 2007 an exciting experience, even for fans who have been listening to their songs over the last decade.

For those who missed out on Daft Punk's tour, Alive 2007 is a solid substitute. But we have to wait and see if they can match the quality of past work on their next album.

--

Studio B hosts a record release party for Alive on December 7th. Daft Punk's Electroma will be screened at the Music Hall of Williamsburg on December 22nd.

MP3: Daft Punk - Robot Rock / Oh Yeah
MP3: Daft Punk - Around The World / Harder, Faster, Better, Stronger
MySpace: Daft Punk
Official Site: Daft Punk

Interview: Tegan and Sara

Tegan Quin appreciates music. Along with her twin sister Sara, she’s been writing songs throughout the last decade, but the duo isn’t limited by their immediate material. They’ve covered everyone from Bruce Springstein to Rihanna, enlightening the young and obscure-minded alike. They’re as well connected as some of their fellow Canadians, but their unique personalities and style have made them easy to appreciate, but impossible to duplicate – twin aside.

Tegan and Sara began recording their most recent album, The Con, in January 2007. However, they began the process long before they entered the studio, demoing extensively after tour support for their last album So Jealous ended. These seventeen demos convinced Death Cab for Cutie’s Chris Walla to get involved with the project. Tegan described his approach as preserving the positive qualities of the demos and building on them. They recorded vocals at Walla’s Portland, Oregon studio, the Alberta Court, over a month and a half, and later added drums and bass at the nearby Kung Fu Bakery.

They also had additional musicians contribute. The Rentals’ Matt Sharp, who played Moog on So Jealous, returned, switching to bass because the sisters were already using their own keyboards. AFI’s Hunter Burgan also played bass, and Death Cab’s Jason McGerr played drums after Walla sent him the demos. They also enlisted Ted Gowans, who is part of the touring band, to add instrumentation. “I love all his weird, quirky parts and he doesn’t overplay and he really accents the all the different stuff we’re doing,” says Tegan.

As with the production of So Jealous, the recording process was captured on film. Although, Tegan wasn’t always pleased with having a camera in her face, she still saw it as a positive experience.

“I regret it every time we do it. But I’m going to love it I know twenty years from now. It’s going to be amazing to have all those tapes and to have documented the whole process. It’s also really great to put out that stuff for the fans. It’s something else to put your energy into. In the past I’ve been so obsessive about the records and about how they sound and I get really stressed out and to have something else to funnel my excess energy into made the whole process like a fun thing to do instead of work,” says Tegan.

The effort is consistent with their DVD release, It’s Not Fun, Don’t Do It. Along with a collection of music videos and a recording of their February 16th, 2005 show at the Phoenix in Toronto, it features extensive commentary and a selection of photographs that transverse their career. Tegan explains that this effort as an outgrowth of her own expectations as a fan.

“When I buy bands’ extra additional footage and it’s five minutes of grainy, weird, narcissistic interviews and then their music videos I feel so disappointed. I want to see how they made the record and what they’re like and what the band dynamic’s like, so we really document as much of that as possible. I think we’re the kind of band that you can buy the record and that’s it and just love the record and be done with it, but once you see us live and you see all the funny little videos and watch the movie and go and look at the DVD, you end up starting to feel like you know us,” says Tegan.

One band that echoes the sentiment is Florida’s Against Me!, and Tegan appears on their album New Wave with the track “Borne on the FM Waves of Heart.”

“I interviewed them at Warped Tour last year in Vancouver. We were all kind of mutually gushing and then I made a joke about how they should ask me to play on the new record. Three months later, they called and said that they wanted me to sing on a track that Tom had written and I was like, ‘I’m so in,’” says Tegan. She compared Against Me!’s steady growth in fanbase over multiple albums and the way they interact with their audience to her own experiences, which involved creating their own niche instead of latching onto a preformed one.

“We’ve always been excluded from every scene because we’re so different, we didn’t fit in the indie world and we didn’t fit in the rock world and we didn’t fit in the folk, singer-songwriter world. I didn’t feel like we had a home and in some weird way I relate more to the Against Me! and Death Cab for Cutie and Dashboard Confessional of the world. That DIY, emotional relationship with our audience is exactly what we’ve been doing in the last ten years,” says Tegan.

It’s an attitude that embraces the internet’s independence, and the band has recently seen the benefits of connecting with its audience, and the power of the web.

“We just went and did a European tour and it was all sold out, and we didn’t even put ads out. It was just listed on MySpace. The credit’s due to the audience; people are creating their own scenes and their own industry online. I don’t agree with downloading and music being so cheap and free and turning our industry into a bit of a garage sale sometimes, but I do agree with fans having power and control over what they want to hear. That’s why satellite radio and internet radio make so much sense than a modern rock station that’s playing the same ten songs over and over again, and beating them into you. I think the fans are taking the control back and I like that,” says Tegan.

However, she’s not quite ready to support musical anarchy.

“I’m reluctant to say that labels should be gone, because I think labels create the marketplace and the value in music by spending all this money,” says Tegan, who has a positive view of their new label Sire, a division of Warner. “For a major label, they still have so many indie bands. They’ve been really good, very hands off. We handed them a finished record and they put it out. No one’s really micromanaging us, which I enjoy. I like the freedom.”

Still, freedom has its downsides.

“Two of the people in our band are huge Radiohead fans and they went and downloaded the record and they didn’t pay anything for it. They both ordered the box set, but I was just like, ‘You fail!’ This one time you had an opportunity to put money in their pockets and you chose not to. We all laughed about it but I felt really sad because even our favorite bands are worth nothing to us, because we’ve got a culture that’s convinced that we’re rich,” says Tegan.

Music’s status as a commodity has become increasingly tenuous, and while there’s incredible opportunity for an artist to be discovered, translating that recognition into a stable lifestyle is incredibly difficult. Despite Tegan and Sara’s longevity and recent success, it’s apparent that their profession remains far from easy. But the fact that they continue to evolve and grow is a testament to their qualities not only as musicians, but as human beings.

--

Thanks to Tegan and Brendan for making this possible. Here's the band's appearance on XPN at the World Cafe in Philadelphia, recorded on August 3rd, 2007. Enjoy!

1. Intro
2. Dark Come Soon
3. Banter - Sick Day
4. Like O, Like H
5. Hop A Plane Intro
6. Hop A Plane
7. Banter - Tragedies
8. Back In Your Head
9. Interview
10. The Con
11. Banter - Karaoke Package
12. Where Does The Good Go
13. Walking With A Ghost
14. Banter - Thank You
15. Living Room

Entire Set: Mediafire
MySpace: Tegan and Sara
Official Site: Tegan and Sara

Interlude: Back In Your Head

I hope everyone had a good Thanksgiving, if applicable. Mine was, as you probably guessed, enjoyably unproductive. Before the hibernation began, I had the great pleasure of finally seeing Tegan and Sara. They played at the Hiro Ballroom in early August, but the show sold out almost immediately, and I missed out. Thankfully, they announced a gig at Webster Hall shortly afterwards, and after three months, the night finally arrived. It was pretty clear from the moment we entered that I wasn't the only one with great anticipation, as the place was already packed. But first, the openers.

Northern State

Upon hearing Northern State described as a female rap trio, I was pretty wary. The only rap I can seem to appreciate is the sinister, atmospheric variety, a style that seemed far removed from whatever it was this group was offering. I guess one benefit of this bias was that I wasn't terribly disappointed when the trio, who was joined onstage by a drummer and guitarist, more or less fit my expectations. That's not to say the set wasn't at all enjoyable. "Good Distance" is a decent pop song with enough offerings of synth and energy to recall CSS, and a few others had at least as much singing as rapping. I also have to give the girls credit attempting to enliven the crowd, urging us to "take off some layers" and do some cardio to their quasi-dance songs. And yes, Hesta Prynn (of Scarlet Letter allusion) was probably pointing to my camera when she joked, "Photo Op!" in between songs. Overall, I was pleased by the inclusion of the occasion hook, but there are vocalists out there that are simply more appealing to me.

MP3: Northern State - Away Away
MySpace: Northern State
Official Site: Northern State

Tegan and Sara

Tegan and Sara are one of the few groups I really got into through live recordings. Although their albums are quite enjoyable - This Business of Art remains a personal favorite, and I'm impressed with how they've developed a distinct style over the last two releases - the live setting allows their awesome personalities shine through. There is no one out there that charms the crowd better, and the night was no exception. Opener songs "Dark Come Soon" and "Like O, Like H" seemed rawer than on record, and set an intense mood, as red lights saturated the stage. But the banter kept things personable, as Tegan recalled their first gig in New York, which took place in 2000 at the Fez, which is now closed. Playing to a small crowd and hearing the regular rumble of the subway apparently wasn't the only thing they had to deal with, as their tour manager apparently didn't fit the mold of a nurturing, father figure type.


After some more new songs, the sisters delved into their back catalog, playing "Monday Monday Monday" from their 2002 album If It Was You. Aside from fitting well with the day of the week, it was a nice look backwards, and just another reminder of how long they've been around. Sara would expand on that, describing a young girl who recognized her as a "singer that was on MTV." Upon verifying it through a third party, Sara recalled saying that she felt like forty to which the credulous girl replied, "Really?" (They're in their twenties, for the record.) The upbeat "Speak Slow" allowed the backup band of keyboardist Ted Gowans, drummer Johnny Andrews and bassist Shaun Huberts to really rock out, and Huberts would eventually switch to a synth on the dark, breakbeat-driven "Are You Ten Years Ago." This electronic presence, while not dominating the mix, would seem almost unthinkable a few albums ago, but it's nice to see the band branching out.


The bottom part of the set featured their two recent singles. The explosive title track of The Con, one of the most immediate songs off the record, was very gratifying to hear live. Although the sheer amount of instrumentation did overwhelm the vocals a bit, it was one of the highlights. Prior to "Back In Your Head," Sara discussed a school shooting that took place in Montreal, and how relieved she was that Tegan wasn't living in an apartment close by. Although it was a bit of a downer, it reemphasized how close the sisters are, even if they sometimes clash on stage, and how reciprocal their relationship is. Perhaps even more impressive was how they managed to convince the crowd - this is New York, after all - to remain (almost) completely silent during the encore break. In a recent interview with NPR, they described how the encore has become routine, but by having the crowd save all their cheering until the band reappeared, the moment was made special again.


And cheer we did, especially when they played "Walking With A Ghost," and much to my personal satisfaction, their cover of Rihanna's "Umbrella." Another oldie in "Living Room" closed out an immensely entertaining set. The amount of concerts I've gone to has made the whole experience somewhat routine, but this was something else. The great banter, the enthusiastic (and cooperative!) crowd, and finally hearing some of those songs made the night really special. I can't wait until they come back, and knowing their persistence, it won't be too long.


I managed to track down a recording of the aforementioned Fez set, all the way back from October 22nd, 2000. I'm happy to report that their banter was just as great back then, and as you might recall, that year's Subway Series gave them some additional material. I've also included a few tracks that you might not have heard before. Also, look for an interview with Tegan shortly. Enjoy.

MP3: Tegan and Sara - Back In Your Head (Morgan Page Remix)
MP3: Tegan and Sara - Umbrella (Rihanna Cover)
MP3: The Broken West - Back In Your Head (T&S Cover)

1. Frozen
2. Proud
3. My Number
4. Hype
5. One Month
6. Not With You
7. Buried Alive
8. Freedom
9. Come On
10. Goodbye
11. Superstar

Entire Set: Mediafire
MySpace: Tegan and Sara
Official Site: Tegan and Sara

Interlude: Smoke Detector

All you can eat sushi is amazing. All you can eat sushi followed by a trip to the Bowery Ballroom is one solid night. Alas, my culinary excess meant I was, again, late to the venue, although the 10 o'clock show time mitigated that a little. The packed room was also a nice change from some of the leaner starts I've witnessed (usually when the openers get on before nine).

The Golden Dogs

Again, I was left wanting more after only catching the final two songs from the first of three sets, as Toronto's the Golden Dogs played exuberant power pop that won me over in the short time span. Keyboardist Jessica Grassia was particularly energetic, marching out in place while alternatively banging a tambourine and keyboard. The band placed signs reading "Yeah" and "Dynamo," and presumably other words, reminiscent of their videos for "Construction Worker" and "Never Mean Any Harm." Lead vocalist Dave Azzolini fell to his knees during the finale, understandable after such an intense set. Unfortunately calls for more didn't lead to anything, but I'm happy to report that their recorded material is as appealing, and if anything, a little more polished than their live sound. It isn't often that I say this about the opener, but the Golden Dogs were probably the best discovery of the night for me.

MP3: The Golden Dogs - Never Meant Any Harm
MySpace: The Golden Dogs
Official Site: The Golden Dogs

The Willowz

The Willowz are from Southern California, and they have fittingly southern sounding rock. Singer Richie Follin brought a distinct twang, both in stage banter and his curious delivery, which at times sounded like that of Danielson. But guitarist Aric Bohn was the most compelling member of the quartet, twirling his guitar around in between string slashes. While they weren't particularly innovative, it was a shame to hear someone in the crowd yell, "Go back to Cali!" Unfortunately, the band may have reacted a little excessively, spending a good couple minutes talking about the heckler, which is probably what he wanted in the first place. It did get a little tiresome towards the end, but it's more of a matter of whether you like their style than any detraction as far as quality.


MP3: The Willowz - Evil Son
MySpace: The Willowz
Official Site: The Willowz

Electric Six

Electrix Six ringleader Dick Valentine is something else. Near the start of the set, he said that Larry King had died, which turned out to be a blatant lie. He would later comment on politics, apparently some theory on how everything is made out of hemp. His geography was equally questionable, thanking the openers as bands from "California, Canda" and "Toronto, United States" respectively. On a note of personal endearment, he kiddingly (?) picked on the drummer, whom he mocked as someone who "never had to work for anything," apparently because of his Westchester County origin (a place I reside in while not at school). I was left feeling very puzzled, but kind of like the guy.


The band delivered raucous dance-rock, much in the same vein of the few songs I am familiar with, the flamboyant disco inferno "Danger! High Voltage" and the absurdly danceable "Gay Bar." Since that first album Fire, the band has been quite prolific, with releases each of the last three years. I wouldn't agree with Dick's belief that four albums elevates them to rock legends, but there was clearly a dedicated fan base in attendance. Perhaps a little too dedicated, as the moshing was a little out of control, missing the point that it's supposed to be confined to those that want to do it.


Still, major kudos during the encore, when Dick sat on the edge of the stage and eventually coaxed a couple audience members to sway by his sides. You rarely get that kind of crowd interaction - or appreciation - and while I was still a bit annoyed by all the physical slamming, I'm a bit more inclined to believe that the band is worth all the effort - and pain.


More photos at the MuseBox Blog.

MP3: Electric Six - Danger! High Voltage
MySpace: Electric Six
Official Site: Electric Six

Interlude: Murder On The Dancefloor

Monday night was a month in the making. The Pipettes, shortly after delaying the stateside release of their excellent album We Are The Pipettes, postponed their tour after having paperwork issues. I'm all for securing our borders, but polka-dotted indie popsters don't really strike me as a threat. Wait aside, the trio (and their backup band, the Cassettes) finally made it to NYC again, albeit at a different venue in the Blender Theater. I didn't really discuss said venue the last time I was there, so I will now. At 23rd Street, it's a bit further uptown than the cluster of Lower East Side dives, but the trip's nothing the 6 Train can't handle. It's kind of interesting in that the back half of the space is seated, while the front (thankfully) resembles the traditional standing space. The lighting's nice and bright, and the sound is pretty good. All in all, not a bad place to see a show. Kyle was there, too.

Monster Bobby

Unfortunately, we arrived only in time to catch the last song and a half from Monster Bobby, the nom de guitar of Robert Barry, one of the musicians in, and some might say mastermind behind, the Pipettes' backup band. In that short time span, he made a solid impression. At first complementing acoustic strumming with electronic effects, Bobby would then switch over to microphone while letting the beats run on. Perhaps most endearingly, he delivered a steady stream of tongue-in-cheek banter, describing one of his songs as an inevitable top 40 hit, and later saying his name slowly because of an apparent misunderstand in Texas. It's a shame it couldn't have gone on for longer.

Monster Bobby has an album out entitled Gaps.

MP3: Monster Bobby - The Postcard
Myspace: Monster Bobby

Nicole Atkins

About a month ago, I had the pleasure of seeing Nicole Atkins play at the Bowery Ballroom, and seeing her name added to the bill was a pleasant surprise. It was particularly gratifying to hear the audience's positive chatter after the set, despite probably being unfamiliar with her music for the first time. Nicole's voice is stunning in the way it erupts, and even with the crunchy guitars and percussion courtesy of her backup band the Sea, her vocals were the clear focal point of the performance. I don't think I've ever heard a stronger voice.


But it wasn't just the music that was good. From the moment Nicole stepped on stage, she was completely charming, kidding that she didn't realize how short Monster Bobby was while she raising the microphone ("Just sassing!"). When water (or beer) somehow drenched the front of the stage, Nicole gingerly lifted a very wet setlist, later saying, "Do you guys remember that scene in Almost Famous where the guitarist gets electrocuted?" A segement of the crowd cheered her New Jersey origins, (her new album Neptune City is named after the town in the Garden State), but it's clear that you can appreciate her no matter where you're from.

Check out a great performance of "The Way It Is" on Letterman.

MP3: Nicole Atkins - Party's Over
MySpace: Nicole Atkins
Official Site: Nicole Atkins

The Pipettes

The Pipettes make me nostalgic. There isn't anyone out there now that can come off as so unabashedly pop, but still seem genuine. A recurring sentence during the night was, "I don't know of anyone who doesn't like them." Well, aside from those guys that hand out visas. Seeing RiotBecki, Gwenno and Rosay dancing and singing in astonishing unison makes me wonder if I can ever stand seeing guys slouching over guitars again. The synchronized dance moves may come off as a gimmick, but as far as I'm concerned, one of the most important things about performing live is compelling the crowd, and that definitely does it. The girls have splendid voices as well, trading lead vocals and harmonizing as adeptly as they dance. Thus, they can be forgiven for relying on the Cassettes for most of the instruments, although Rosay would play the keyboard a few times, as on the ironically inoffensive "Sex."


The insertion of some new songs kept the crowd on its toes, but the songs are, as the band admitted themselves, generally about dancing or love or both. Despite this and more than a few quick two minute songs, it was tremendously entertaining throughout, and the crowd was very into it from start to finish. It's really not that revolutionary; a 1960s reference is pretty much obligatory even if you weren't alive then, but more power to the Pipettes because they can pull it off. Speaking of which, "Pull Shapes" has quickly become one of my favorite pop songs, and with its built-in clapping segment, it was a huge crowd pleaser. I can't wait for them to come back (again).


MP3: The Pipettes - Pull Shapes
MP3: The Pipettes - Your Kisses Are Wasted On Me
MySpace: The Pipettes
Official Site: The Pipettes

"Clap your hands if you want some more."
The encore was "ABC" and "We Are The Pipettes."

Reformation

So I was trawling through YouTube the other day when I came across the video for Mylo's recent take on Freeform Five's "No More Conversations." It's a fantastic dance pop track; the synth line purrs amidst Tamara Barnett-Herrin's airy vocals, while a jumpy beat keeps things lively. Fittingly, I first heard of Freeform through their rework of "Muscle Car" off of Mylo's excellent album Destroy Rock & Roll. Both artists blur the line between remixing and the traditional band setup (Freeform centers around producer Anu Pillai, while Mylo sometimes tours with a full band), and I think that's pretty neat. They're both playing dates across the pond over the next couple months, and hopefully new albums won't be far off.

MP3: Freeform Five - No More Conversations (Mylo 2007 Radio Re-edit)
MP3: Mylo - Musclecar (Reform Reprise)
MySpace: Freeform Five
MySpace: Mylo

Interlude: In Church

The Wordless Music Series has a number of events that seek to unite fans of indie rock and electronic music and those with more classical leanings. Friday night's event took place at The Church of St. Paul the Apostle, and featured a unique blend of instruments, with everything from cello to computers to choirs. Although the venue's a bit more uptown than I'm used to going, and it was raining as usual, the trip was definitely worthwhile. It's a bit strange sitting at a show to begin with, and being in pews was really odd, but it would have been difficult to stand throughout the entire performance. That's not an insult to the artists, but simply that the music they played was far mellower and quieter than the usual fare, just one of the qualities that made the night special.

Torngat

Montreal trio Torngat were entirely instrumental, its members deftly switching from brass to percussion throughout the set. With the varied instrumentation, their sound overlapped categories, as a sort of abstract blend of jazz, indie pop and electronica. With a name inspired by a wild mountain range in Quebec, Torngat was scaled one major peak in the middle of their performance, the drumming becoming surprisingly loud. Towards the end of it, two members marched down the aisles, blowing their horns like distressed whales. It was a somewhat puzzling move, but a fitting end for a band that embraces the unexpected.

MySpace: Torngat
Official Site: Torngat

Jihyun Kim

We were told afterwards that celloist Jihyun Kim had been in the hospital earlier, but had insisted to play at the show nonetheless. If she was feeling any discomfort, she didn't show it, as she played marvelously through a rendition of material by Bach and György Ligeti. There isn't much that's comparable to classical music in what I usually hear; at most, orchestration is an ornament rather than the driving force behind a song. Unfortunately, my ignorance was an obstacle to completely appreciating her performance, and there were moments when I had recollections of recitals from years past. Still, it's hard not to appreciate the sublime sound of a string instrument, but only in measured doses.

Video: Jihyun Kim - Cello Solo

Múm

With headliners Múm looming, I grabbed a spot on the floor in front of the stage. I wouldn't consider myself a huge fan, having only really listened to significant quantities of their first album, Yesterday Was Dramatic - Today Is Okay. But with both Valtýsdóttir sisters departing since the group's inception, it was a very different sort of Múm that took the stage. Much of the glitchy computerization that defined their earlier work was relegated to a supporting role. Instead of the Valtýsdóttirs' whispered vocals, the addition of two new female singers created a pseudo-chorus that fit well in the religious space. Thus, I was pleasantly surprised by the amount of oomph in their sound. Too often, the earlier stuff becomes background music, and while the set was mostly gentle, there were gratifying amounts of head-nodding courtesy of the punchy basslines and drumming. Overall, this incarnation of the group seems far more extroverted, which is only a good thing in a live setting.


Towards the end of the set, the band covered a gospel song by Washington Phillips, which is to say, a song with actual words. Although the band did an okay job in the studio with Slowdive's "Machine Gun," (included below) it would have been almost unthinkable to hear the band attempt more than an approximation without their current lineup. But with the additional members, it was a rousing tribute that reiterated the fact that music conquers all barriers, whether geographic or stylistic. Torngat would join in on the last song of the main set, and the band would return for a quiet closing track in the encore, a tranquil outro for an excellent night.


Here's a repost of their show at Barcelona, Spain's BAM music festival on September 21st, 2002, and a couple other songs of note. Enjoy!

Update: Check out a recording of Múm's two shows over the weekend at nyctaper.

1. The Land Between Solar Systems
2. Green Grass of Tunnel
3. K/Half Noise
4. Smell Memory / I Can't Feel My Hand Any More, It's Alright, Sleep Still
5. Please Sing My Spring Reverb
6. Now There's That Fear Again
7. Awake On A Train

MP3: Múm - Machine Gun (Slowdive Cover)
MP3: Múm - Dancing Behind My Eyelids
MySpace: Múm
Official Site: Múm

Madness!

It took a while, but this is the 300th post on ÜberDrivel. Aside from a lackluster summer (excluding Virgin Festival), these last hundred posts have coincided with an incredible semester of concert-going, highlighted by an insane five day stretch during CMJ. But even more importantly, I've developed some really great relationships, partly because of this blog, and I'd like to thank everyone that's taken the time to read, comment, listen and link here. And to those of you that I've seen at shows, IMed, emailed and generally spent time with, thanks in particular to Danielle, Elizabeth, Jeff, Joe, Kyle, Luke, Maria, Maryanne, Stephanie, Tanmay, and everyone at the MuseBox, Wireless Bollinger, and Washington Square News for all their support. I wouldn't be able to do what I do without you guys, and it's been a pleasure. Keep up the good work!

So, how does one commemorate the occasion? Well, I've been really into music for about three years now, and although my playlists shift frequently, there's a special set of songs that sound just as compelling now as when I first started off. I guess you would call these my favorites, and it's really gratifying to be able to share them with you. Enjoy!

MP3: Bloc Party – Helicopter
MP3: Eisley - Golly Sandra
MP3: Ellen Allien & Apparat – Way Out
MP3: Interpol - PDA
MP3: Massive Attack - Inertia Creeps
MP3: Metric - Combat Baby
MP3: My Bloody Valentine - Soon
MP3: Portishead - Roads
MP3: Straylight Run - Existentialism On Prom Night
MP3: Trentemøller – Take Me Into Your Skin

Entire Mix: Mediafire

And seriously, support these and all artists by going to their shows, buying their merch and spreading the word. The world would be a much lamer place without the music they make. Thanks.

Interlude: An End Has A Start

This review appears in this week's issue of Wireless Bollinger. Kyle was also at the show.

On Friday night, Josh Rouse and Maria Taylor demonstrated that being a singer-songwriter isn’t nearly as solitary as the tag suggests.

Maria Taylor

Maria Taylor opened, taking the stage with Andy LeMaster (of Now It’s Overhead) on bass and a drummer, all of whom would contribute vocals. Taylor began with “Birmingham 1982,” alluding to her Southern upbringing and setting an introspective mood for the rest of her performance. After retrieving the setlist, which written on a napkin, from the bottom of her shoe, Taylor continued with a brand new song entitled “Time Lapse Lifeline.” “Leap Year” followed, replacing the album version’s electronic sheen with gentle string plucks from Taylor and LeMaster. “A Good Start,” from her second album Lynn Teeter Flower, was next, as the band settling into an enjoyable mid-tempo groove. Taylor and LeMaster traded vocals on another new song called “Orchids,” equating love with foliage in bloom. Unfortunately, “Clean Getaway” wasn’t nearly as poignant, its sparse arrangement isolating Taylor’s voice rather than highlighting it. Although Taylor sang beautifully, the crowd grew noticeably restless and chattered, and the lack of percussion meant the drummer sat idly.


Taylor restored the audience’s attention before her next song, which had just been written two weeks prior to the tour, by offering to try to play kazoo while strumming guitar. When she hesitated, the crowd yelled, “Do it!” Although she would spit out the kazoo after her first note, LeMaster gamely continued playing his, adding a unique element to the mix. Far too quickly, the set ended with “Song Beneath The Song,” its circuitous lyrics echoed by the three-part harmony. The crowd protested, including a girl that said she had travelled from Amsterdam to see Taylor (although it was unclear if she was referring to the country or street on the Upper West Side), but it was to no avail. While the abundant new material was a testament to Taylor’s prolific songwriting, the crowd clearly yearned for older, more familiar highlights.


Here's a couple cuts from the fantastic 11:11, and Maria's live set at Spinner.

MP3: Maria Taylor - Leap Year
MP3: Maria Taylor - One For The Shareholder
MP3: Maria Taylor - Live on the Interface (05.18.07)
MySpace: Maria Taylor
Official Site: Maria Taylor

Josh Rouse

Josh Rouse wore his best suit, but his homespun stage presence was even more appealing. Rouse delivered down to earth, entertaining banter throughout the night, at one point kidding “Make sure you’re really quiet; I’m a singer-songwriter.” Although Rouse’s performance had its share of restrained twang, his bassist, drummer and keyboardist contributed to the night’s success. While each song centered on Rouse’s voice, it wouldn’t have been nearly as effective without the rest of the band chipping in by adding vocal harmonies and gratifying the audience with increased volume. With such a strong group of musicians onstage, it’s unsurprising that the crowd felt compelled to participate. “Love Vibration” oscillated throughout the venue, the line, “You people all know what I'm talkin' about” becoming a self-fulfilling statement as the crowd sang back with gusto. The words swelled and eventually died down, but the band continued jamming as the house lights died down, with the occasional strobe punctuating the percussion. This spontaneity resurfaced a few songs later, when the band broke into an enthusiastic instrumental take on the Peanuts theme as Rouse moved to the side of the stage to remove his jacket.


Still, Rouse is a man of words, and he delivered his lyrics eloquently, painting vignettes of experience and love without resorting to clichés. But the Rouse briefly discussed the origin of his album 1972, mentioning an early producer who believed Rouse had no radio-viable singles, later saying derogatorily, “If [Rouse] had his way, everything would sound like it was recorded in 1972.” Rouse’s longevity (he has released seven albums to date) makes the first part of the statement seem ridiculous now, but there’s a certain truth to the sentiment of time. Rouse embodies an era that seems forgotten in the blur of contemporary lifestyle, its frenzied pace exemplified by the music industry. Rouse seemed to have more to say on the subject, particularly as the founder of his own label, Bedroom Classics, but instead he continued on to the next song. For the crowd, it was enough to simply savor the nostalgic.


MySpace: Josh Rouse
Official Site: Josh Rouse