Get Out :: 02.20.08

Get Out is indierocket!'s occasional guide to getting down in the Soda City....for science!, Anthems for Odyssey
New Brookland Tavern :: 7 p.m.
...for science! plays loud, slow, heavy post-rock; Anthems for Odyssey plays tight, fuzzy, gothic shoegaze. It's a nice complement; trust us. Damage: $5 ($7 under 21).

New Noise :: American Gun: The Means and the Machine

American Gun
The Means and the Machine (Diamond D)
Verdict: 8.3.
RIYL: Whiskeytown, Lucero, Drive-By Truckers, Avett Brothers

In the grand tradition of Southern rock bands — and please note the distinction from Southern-rock bands a la Skynyrd et al — American Gun possesses a hootin', hollerin', carryin-on' spirit that wouldn't feel authentic coming from a band of carpetbaggers. Indeed, much of American Gun's swagger can be traced to old-time country's bigwigs — The Man in Black, The Possum, The Red-Headed Stranger, The Killer and The King — and the parts of which that can't are easily touchstoned — Whiskeytown, Lucero (hell yes, Lucero; the band expertly covers Ben Nichols' "All the Same to Me" on Means), Americana, Brit-rock.

So while such easy sonic references are a music journo's dream, it begs the question: Where are the original bones in the band's body? The bones here come from songwriters Todd Mathis and Donald Merckle, the creative forces behind the band's attractive indie-Americana tunes. Typical dual-songwriter comparisons — Lennon-McCartney or, perhaps more appropriately, Farrar-Tweedy — don't exactly fit, as there's never the sense that one is pulling in an entirely different direction than the other. Besides, both probably fall more toward the Tweedy side of the scale anyhow, though Merckle's tunes tend to be darker, folksier affairs and Mathis' to be edgier, overdriven affairs. And, indeed, the album works its best magic when each sticks to his strengths: Merckle scores a one-two punch with the tongue-in-cheek opener "Drunk Girls" and the roots-poppy "Fight Song"; Mathis sets Means ablaze with follow-up tracks "Horses" and "Neil Young Mood." Those themselves make for an incredibly strong side one, and while it's not that side two is lackluster or disappointing, it's not really again until the tongue-in-cheek closing number, the Mathis-penned "Jesus Gave Us Rock 'n' Roll," that American Gun again hits on all cylinders. Again: There are good tracks — Mathis' longing, lonesome "First Impressions" most of all — but the second half's preponderance of slow-burners and plodding tearjerkers bleeds off a little too much momentum.

I'm not thrilled with Chris Stamey's production of the record — it's a bit airy and dissociated for a band whose live strength is foot-stomping fervor. Stamey's saving grace, though, is introducing the band to pedal-steel virtuoso Al Perkins, whose melodic lines glide with blissful grace. Indeed, it's the steel playing that pushes most of the tracks into the alt-country straosphere; and when you add flashes of mandolin and horn sections, it's that much tastier.

Ultimately, The Means and the Machine is about the same as American Gun's debut, Dark Southern Hearts: A good-not-great, immensely solid outing that, were the band not toiling in relative obscurity, would provide a nice addition to the hallowed catalogs of New West or Lost Highway.

American Gun [MySpace]
American Gun [official website]

New Noise :: Grand Archives :: Torn Blue Foam Couch

You might remember me posting the demo for this song a while back. Back then, it was just a track on a four-song demo EP that they had thrown together themselves. Now signed to Sub Pop, Mat Brooke and Co. are about to drop their full-length (out Feb. 19th - pre-order and you get a bonus 7-inch), and to whet our whistle, Sub Pop has released the final version of 'Torn Blue Foam Couch.'

To be honest, I'm a little torn with how to feel about the new version. I suppose that's to be expected. For something like ten months, the demo is the only version of the song I had ever heard, and if I would ever get off my lazy butt and post my list of favorite songs from 2007 (soon, I promise), you would already know that this was my favorite song of the year. I have a few problems with the final version (and they really aren't problems, I'm just not used to the new arrangement). First off, I never realized that the chord structure was the same as Pachelbel's Canon (you know, that wedding song), but the new version's intro makes it unmistakable. Nothing wrong with that. It's just a little distracting. Another bother is that the piano is accompanied occasionally with a keyboard of some kind that occasionally detracts from the simple beauty of the piano. It's shorter, so it's build doesn't seem quite as magnificent as the original. There are new things that I do like. For instance, the horns really give it the Beach Boys feel that I think the band is going for, and the drums sound even better than the original, which I didn't think possible.

Anyways, enough of my opinions. Why don't you decide for yourself? Here's both versions. Discuss!

Grand Archives Torm Blue Foam Couch (demo)

Grand Archives Torn Foam Blue Couch (final)

Pre-order The Grand Archives here.

Get Out! :: 02.01.08

Get Out! is indierocket!'s occasional guide to getting down in the Soda City.

FRIDAY :: 02.01.08
Black Swan :: Hunter-Gatherer :: 11 p.m.
Black Swan's dark, progressive indie rock makes excellent use of post-rock and goth-rock touchstones, creating a moody, atmospheric sound all its own. Reid Hardaway's nimble, heavily reverbed arpeggios counter-balance Courtney Vincent's simple piano structures perfectly, and Hardaway's tasteful use of delay recalls early British shoegazers Ride. And let's not forget the rhythm section, the simple-yet-effective combination of bassist Joe Greene and drummer Daniel Wilson. The most striking of Black Swan's compositional elements, though, is Vincent's voice, which is at once seductively husky and elegantly restrained. Damage: $3.

SATURDAY :: 02.02.08
Colour Revolt :: New Brookland Tavern :: 6:30 p.m.
I say this with the utmost reverence: Colour Revolt blends everything I love about post-Good News Modest Mouse, pre-Worlds Apart ...Trail of Dead, Surfer Rosa-era Pixies and classic Neil Young and distills it into a perfect temper tantrum of indie-rock furor. Call Colour Revolt post-apocalyptic-rock: Drums hit like claps of thunder; bass guitars rattle like earthquakes; guitars twist and flail like whirlwinds; and singer Jesse Coppenbarger encapsulates the lonesome, confused spirit of the last man on Earth. The Oxford, Miss., quintet's new record, Plunder, Beg and Curse, continues in the same urgent vein as its self-titled debut; don't be surprised if most of the set is derived from it. Damage: $7.
Colour Revolt - "Naked and Red" [from Plunder, Beg and Curse]

Josh Roberts & the Hinges :: Headliners :: 9 p.m.
Put simply, there's no such thing as a bad Josh Roberts show. And that's all there is to it. The Hinges' new record, My War Cry is Amor, is a raucous, rollicking riot through the world of alt-country, from the punkish "Atom Inhibitor" to the lugubrious, triumphant "Every Brick of Downtown." Damage: $7.
Josh Roberts & the Hinges - "Every Brick of Downtown" [live at the Five Points Pub [via archive.org]]

Rob Lindsey & the Friendly Confines :: Art Bar :: 10 p.m.
We here at indierocket! love us some Rob Lindsey — I like to say he's a more literate John Mayer or a pop-rock Tom Waits — and we're glad to see he's put together a backing band — featuring members of another indierocket!-beloved local group, Magnetic Flowers — to flesh out his intricate and interesting guitar-pop. Damage: $3.

The Jam Room 20th Anniversary Bash :: Five Points Pub :: 8 p.m.
The Jam Room's a veritable Columbia institution; Jay Matheson's client-list is long and impressive, including The Queers, Kylesa and local heroes Stretch Arm Strong. We're most excited about our boys Death Becomes Even the Maiden, but the night also features some blasts from Columbia's past: Old-timey punks Scary Hand and 49 Reasons play, as do reunited goth-rockers Bachelors of Art. Damage: $5.
Death Becomes Even the Maiden - "Control" [from The Arrangement]

Musings :: Bill Cosby to Release Rap Record

You SEE, THEEE-oh, the HIP-HOP is a moral sewer, you see, with the suggestive dancing with hippin' and hoppin' and bippin' and boppin'. You see, we had the jazz MU-sic back in my day, THEEE-oh, we didn't have the dope-pusherrrrrs and the soldier boys with their crankin' and their supermen. Why don't you get yourself some JELL-O pud-ding with the flavors and the chocolate and tastes so good in your mouth and tongue, you see. ROOOO-DEEEE!!!

Bill Cosby Working on Rap Album [via allhiphop.com]
House of Cosbys [via Channel 101]

New Noise :: Aloha: Light Works

Aloha
Light Works (Polyvinyl)
Verdict: 6.4.
RIYL: Death Cab for Cutie, The Shins

Light Works is an astutely appropriate title: The seven tunes on the mini-LP (or really long EP) are profoundly quiet, eschewing Aloha’s trademark prog-rock clamor for plaintive, heart-on-sleeve indie-pop built on pristine, plucked acoustic guitars and pastoral piano figures. Indeed, “Too much of anything is wrong,” which Tony Cavallario muses on “Passengers,” is much less a lyric and much more a statement of purpose; to call Light Works sparse is an understatement. Quasi-prog arrangements and refined architectural elements go out with the old; sad-bastard, Plans-esque sentiment and palpable wuss-pop come in with the new. Indeed, fans of latter-day Death Cab for Cutie will eat this shit up — though, to its credit, it’s much headier and a much more refreshing listen than anything Death Cab’s done since The Photo Album, most especially "Body Buzz," which doesn't aspire to anything more than steady trot, but its end-of-summer-romance aesthetic is at once picturesque and gorgeous in its low-key splendor, making perfect use of piano and organ accents (not to mention yet another brilliant performance from drummer Cale Parks). But Aloha’s greatest strength was its beefy, quadraphonic ornamentation; the adventurous listener was rewarded with the efforts of an adventurous band. Now, the adventure is gone. In short, Light Works isn’t good, but it isn’t bad; it’s decidedly middle-of-the-road. “I must admit, I’ve slipped a bit,” Tony Cavallario croons on “Broken Light.” Maybe you have, Tony. Maybe you have.

Aloha - "Body Buzz" [from Light Works]
Aloha, Light Works [eMusic]
Aloha [MySpace]
Aloha [Polyvinyl]

Musings :: Death Cab for Cutie Name New Album

Ben Gibbard: "Narrow Stairs — now that is an exciting title! Huh. That's funny. I can't feel my pulse. Shouldn't I have a pulse? Could this have something to do with the bland, watered-down tripe I've been releasing since We Have the Facts and We're Voting Yes?"
Chris Walla: "No. You're fine. Now let me get back to my solo record."

Death Cab for Cutie Name New Album [via deathcabforcutie.com]

Tube :: Nada Surf

Before I even start talking about these videos, I would like to (respectfully) inform Nada Surf bassist Daniel Lorca why he doesn't get too much facetime in these videos. Here's a hint - it rhymes with 'red socks.' Apart from questionable hair decisions, I'm pretty excited about Barsuk releasing the new Nada Surf album Lucky on Feb. 5th. Weight Is A Gift and Let Go are two of the best straight-up pop/rock albums of the Aughts. The few promo tracks released thus far haven't completely won me over, but admittedly, their previous two albums were growers for me, so I expect about mid-February I'll be driving down the road, singing these songs at the top of my lungs like an all-girl road trip.

Two (!) videos from the album have dropped recently, and 'Whose Authority', the first one presented here, is far and away the best. Why, you ask? Because the Jonathan Krisel-directed video features none other than Michael C. Maronna of Pete and Pete fame! Man, I haven't seen that guy since those Ameritrade ads. Thankfully, he's not quite as grody in this video where he bike messengers the hell out of some packages in New York. I dig it. You will too. And can someone please get Maronna more semi-serious work like this? I think he can take it.

The video for 'I Like What You Say' is pretty darn good too but loses huge points with me because of the whole cutesy animated indie rock video virus that's been going around for the past two years. At least it doesn't involve unwashed hair, though.

New Noise :: The Field, Sound of Light

Here's the thing about music that's designed to fit a purpose: It is (or at least should be) judged against Eno's Music for Airports. Above, you'll see Stockholm's Nordic Light Hotel, the core design element of which, according to its website, is the Northern Lights. And the hotel (or at least the marketing firm the hotel employs) has asked a very strange question, at least for a hotel (or at least the marketing firm the hotel employs):

What does light sound like?

"This question," the hotel's website reads, "inspired our musical concept called 'Sound of Light.' However, the idea of creating music inspired by light was only the starting point for the project. The goal was to portray our entire hotel through music but our main idea was simply to produce a far out record that made great listening. To realize this ambition we decided to invite recording artistes to interpret our hotel experience and express it by making a record. One record for each artiste, to give them the space they need to fully develop their interpretation." The first of such artists was fellow Swede Axel Willner, known to the electronic music community as The Field. In essence, Sound of Light is Music for Hotels, and, moreover, Music for the Northern Lights.

Most, if not all, of Sound of Light falls into a fairly simple pattern, endemic of most electronic musicians: Sample-hold-repeat, with bells and whistles (literally and figuratively) orbiting around the central beat of the song. However, this is an advantage, as it makes the breaking Sound of Light down into four long tracks, each clocking in at or near 15 minutes long and delineated further into particular times of day, more palatable, as Sound of Light is designed almost narratively in structure.

"Morning" kicks off with a stuttering-yet-lock-step synth-and-drum-machine groove similar to Amnesiac-era Radiohead and explodes into what could essentially be called a chorus that recalls the reverent techno of Daft Punk. My only quibble with "Morning" is that, as a narrative element, it seems mislabeled; perhaps it's just my mornings, but "Morning" is far too upbeat and caffeinated, far too sunny. Regardless, there's a gorgeous break around the eight-minute mark where the beat reverses swims against the tide; a remarkable distraction from the relentless dance groove.

"Day," narratively, is much more fitting — another unyielding high-hat beat runs throughout the song, which is accented by clicks and clacks eerily reminiscent of computer keys. The machinic pounding found later builds like a Tinkertoy Tower, eventually crushing itself under its own weight — just like a day at the office. "Evening," then, is its antithesis — playful (with synthesized female cooing) and a loping dance beat. It starts out fairly dull, actually, like background music for "upscale" mall stores such as Express. (Uhh, not that I've ever been in there.) But it, like its three companions, unfolds spectacularly, gradually adding piece upon piece (laser beam synths, hisses of static) without losing itself, ironically maintaining a skeletal minimalism. Not surprisingly, "Evening" is also the most playful — the most fun, if you will — of the four tracks, and the most likely to be found bumping in an actual danceclub.

"Night" is the most explosive, a nearly beatless song that interlopes arrythmic synth tremors and high-hats around its vast interior. Indeed, it sounds almost hollow, like the reverbed echo of a canyon in which every sound is peripheral. Because of that, it's the one that's also the most calming, like staring into a clear night sky on a crisp night.

So is listening to Sound of Light like viewing Aurora Borealis? (Or, for that matter, even staying in the hotel?) Having never seen the lights (nor been to the hotel) myself, I can't say. But I'd imagine that it'd be a breath-taking, awe-inspiring experience. Sound of Light is neither, but it's a damn fine attempt. Each of the four tracks on the EP — and to call it an EP is almost egregious, as it's a hair over an hour long (longer, even, than Music for Airports) — unfolds gorgeously, as if guided by unseen mathematics and programmed to burst into one million tiny pieces of light on a night sky. The Verdict: 7.8/10.

Get Out! :: BJ Barham @ The Whig :: 01.11.08

Please apologize my recent lack of posts, but holidays + mini vacation + (new job x 2) = Tug has been short on time recently. I did want to take the time, however, to tell you guys about a guaranteed barn-burner going on tomorrow night at The Whig. You've heard me talk about American Aquarium many times before, so it should be no surprise that I'm excited about a solo tour by their lead singer BJ Barham. Now you've heard me extol the virtues of American Aquarium, and how they're a boisterous, hard-drinking explosion of a band, and while that may sound hard to pull off for an acoustic solo act - if there's anyone who can do it, it's Barham. While I've heard it said that all Southerner's are natural-born storytellers, Barham inherited the trait in spades plus the added bonus of being a smooth talker. Look to hear songs from American Aquarium's upcoming record plus some old favorites. The highlight of the night will be that one song that I always forget to ask the name of, but you'll know he's about to play it when he introduces it with, 'This song is about a whore...' Oh, wait. That's lots of his songs.

Head to the band's myspace page to see if Barham's coming near your town. Especially if you're in the Charleston area Sunday and want to swing by and see my boys (and girl) at the Tin Roof. Tell 'em Tug sent you.

American Aquarium Lover Too Late (live in Charleston)