Decibels as Pixels

Update

2011-09-11T16:18:00.001-07:00

It's been seven months since I last updated. Where to start? Husband Husbandface and I moved to Bellingham, which has it's own thriving microclimate of music and is proving delightful. I shot Bumbershoot, but didn't make it to Capitol Hill Block Party or Sasquatch (although I did secure press credentials, which is still progress). I have shot two of my favourite musicians this year - Gruff Rhys and Weezer, and there are several contenders for Album of the Year.

The main reason I am updating this is to note that I am working on another project - so while I haven't been idle, this space will officially become redundant once the project has been launched. This year has provided a lot of growth, and that is exciting.

Sasquatch!

2011-02-06T22:56:00.000-08:00

Will this be the year I get to see Modest Mouse and Death Cab? Stay tuned...

[Also: Foo Fighters, Flaming Lips, Pink Martini, Old 97s, Best Coast, Wilco...]

I always have a mental list of shows I want to go to. Here's the digitized version:

2011-01-31T12:47:00.000-08:00

Yo La Tengo/Corin Tucker - Thursday 17 February, Showbox at the Market

Wavves/Best Coast - Friday 18 February, Sugar

The Octopus Project - Thursday 24 February, Crocodile

Deerhoof - Friday 25 February, Neumos

Crystal Castles - Tuesday 8 March, Showbox SoDo

Uh Huh Her - Sunday 27 March, Chop Suey

You Say Party - ~~Saturday 2 April, Vera Project~~ - You Say Party has been forced to cancel their upcoming tour due to illness. I feel bummed because this is a great band that deserves a positive year. Get better soon, Becky, and please reschedule!

Bright Eyes - Friday 8 April, Commodore Ballroom

Foals/The Naked and Famous - Monday 11 April, Showbox at the Market

Pains of Being Pure at Heart - Friday 22 April, Crocodile

Starfucker - Saturday 23 April, Vera Project

Of Montreal - Wednesday 11 May, Showbox at the Market

Friendly Fires - Sunday 5 June, Neumos

Architecture in Helsinki - Monday 6 June, Neumos

+SXSW, Sasquatch, Bumbershoot~

In brighter news

2011-01-30T22:51:00.001-08:00

One gig I am looking forward to is Bright Eyes' show at Vancouver's Commodore Ballroom in April. I love Vancouver, so when I heard Connor and company wasn't playing Seattle, I jumped at the chance to go see him with my best pal Mandy. In the leadup to it's February release, the good folk at NPR Music are streaming The People's Key - check it out, and then go snap up tickets to see Bright Eyes live - this tour will sell out!

Unknown Pleasures remain just that.

2011-01-28T19:23:00.000-08:00

It was with some hesitation that I attended Peter Hook's Unknown Pleasures show in December. Billed as a tribute to Ian Curtis thirty years after his death, the tour had attracted mixed reviews - some scathing, some idolizing, most borderline obsessive. Like many others, I thought this would be my best chance to experience some of that Factory magic for myself, so my husband and I headed over to the Showbox in anticipation of an amped up, riotous evening. It would not be perfect, but perhaps we could drum up the roaring essence of Joy Division.

The evening opened with a fifteen minute "documentary" - which I had been excited to see; it was an interesting concept in lieu of an opening act, and if nothing else could contain clips from Control, 24 Hour Party People, or some rare footage chronicling the band. Instead, viewers were screened a baffling montage of dated commentary with no sense of direction and a few bars of "Transmission" and "Everything's Gone Green" thrown in for good measure. What began as a night of mere mediocrity was about to descend into a farcical, talent-defying non-event, devoid of power and emotion.

The lights went down, Hook and the band marched onstage, and launched into it...with Hook rocking back and forth, holding his hands in the air, saluting, (ie: having a guitar slung around his neck but not actually playing it for more than three seconds at a time), and making sure to dart back to his music stand so that he could turn the page of his Joy Division for Beginners Music Notation and Lyrics Guide, emblazoned in (what else?) Factory-issue black-and-yellow stripes.

Wait...what!? The man was a founding member of one of alternative rock's seminal groups, and in touring in "tribute" to their frontman he cannot even remember the guitar tabs, or even the words, to some of the most critical songs in rock history? Are you fucking kidding me?

I was incredulous, insulted, and seething. I turned and gaped at my husband in disbelief as Hook knocked his precious folder off of his music stand, and then stood swaying back and forth as a roadie rushed onstage to pick it back up for him. I could imagine Simon, Randy and Paula urging the band on, telling them to "own" the songs, or "make them their own". The band, headed by Hook's own son, seemed terrified to be playing the songs - not unlike the depiction in Control where Alan Hempsall gets bottled trying to cover 'She's Lost Control' at Tony Wilson's urging. The only difference here was that in the movie, the audience started a riot, whereas here, the group seemed to be content to shout out their undying adoration and continue to record grainy iPhone videos. You can view one such recording here, complete with page-turning-action around the one-minute-thirty mark, and you'll note that he barely even plays any guitar, so why bother carrying it around in the first place?

Meanwhile, the technical side of things was also a letdown - shoddy enough to cover Hook's lacking vocals (I think he put more effort into his fauxhawk than anything else), it was an unprofessional affair, and I feel bad for everyone who paid TicketBastard's outrageous convenience fees in order to attend.

The night ended with 'Ceremony' and 'Love Will Tear Us Apart' - Wait, didn't Curtis hate that song immensely?

And all of this without so much as a paltry anecdote from Hooky about the inner turmoil Curtis struggled with, the contribution he had made to music, or even just saying that he missed his friend. Did I dance along to 'Digital' or 'Isolation'? You bet, and the fervored crowd who joined me probably would have done the same if they had just been playing over a jukebox or a playlist at a bar. If there was any saving grace to this event, it was the fact that Curtis' works are intense, emotional songs that have endured for decades, remain relevant and can still get a crowd moving. This may have been the worst concert I had ever attended (including a certain concert that saw me hospitalized), but at least I learned my lesson: A bad cover version of love is not the real thing.

I had been hesitant in writing about this, mostly because I was loathe to relive the evening, and my editor had declined to run any bad press on the event, but even so, my conclusion remains the same: Peter Hook - you're not just a sellout, you're a fucking dickhead.

All aboard

2010-12-09T18:25:00.000-08:00

This

Blog

Not

Meeting my needs.

Expect

Movers &

Shakers

Usher in the new year

Whatever happened to?

2010-11-16T18:14:00.000-08:00

Hey look! The internet is making is easier and easier to stay firmly rooted in 1994.

That's cool, I guess.

Proceed with caution

2010-10-13T22:27:00.000-07:00

Everett True of Collapse Board's advice for aspiring music critics:

1. Don’t ever attempt to apologise for holding an opinion.

2. 400 words good. 800 words fucking horrible.

3. Most musicians are cunts.

4. The music industry is not your friend. Unless you choose to make it so.

5. Don’t forget to place value upon what you do. If you don’t, why should anyone else?

6. Having the ability to turn an amp up really loud does not automatically make you an interesting person.

7. The Rolling Stones ruined music for every generation. Discuss.

8. Do not overuse adjectives. One is usually more than enough.

9. Do not confuse research with the ability to parrot press releases from memory.

10. No one gives a fuck what you think. Get over it.

11. Your principles mean shit if you didn’t have any to start with.

12. 10 words good. 50 words fucking pointless.

13. Don’t ever try to describe the music.

14. if you have to resort to lists to make your point, you probably shouldn’t be writing.

15. You shouldn’t care. Not in public, anyway.

16. Record companies and PRs don’t always tell the truth.

17. Don’t write for magazines/websites you don’t read.

18. No one GIVES A SHIT why you didn’t get to the concert until 30 minutes after the support act started.

19. No one GIVES A SHIT as to the full names of every single band-member.

20. (from Sean DIS) Write because you have to, not because of your career plan. Don’t ask if you can submit. Write. Permission s’not necessary.

21. If you don’t have a fucking clue why you’re doing it, don’t do it.

22. It’s not sexy. It’s not glamorous. And it certainly won’t get you laid.

23. Words to avoid. “Really”. “Totally”. “Seminal”. “Unbelievable”. “Transcendent”. “I think”. “It seems”.

24. It’s not over. It’s never over.

25. Fuck hyphens. And fuck apostrophes too, while we’re here. Keep it direct, entertaining, informative.

26. Think a band sounds like another band? You’re probably right. So what?

27. The platform is way more important than the critic.

28. Never trust a writer without an agenda.

29. Your editor will always value your ability to time-keep way over your ability to wield flowery prose.

30. It’s nice that folk want to send you free stuff, isn’t it? Get over it RIGHT NOW.

31. A 10-minute rehash of the press release on the telephone does not even vaguely constitute an interview.

32. Not all quiet bands sound like Young Marble Giants.

33. Not all noisy bands sound like Sonic Youth.

34. No one gives a fuck you once made out to a Smashing Pumpkins B-side.

35. Having the ability to use a keyboard does not automatically make you a writer. See also #6.

36. Don’t outstay your welcome. G’night.

37. People are reading your words to find out about the MUSIC.

38. Confused by one of your sentences? You won’t be the only one.

39. Do not mistake alcoholic intoxication for a good night out.

40. Radiohead no longer make good records. Get over it.

41. Have the urge to read another review of the same record before writing yours? SWALLOW IT.

42. The golden age of music criticism never existed. Get over it.

43. If you’re boring yourself, you’re boring your readers for sure.

44. Kurt Cobain is dead. Get over it.

45. Be candid. Be yourself. Be aware. Be yourself. Be entertaining. Be yourself.

46. How many music critics does it take to change the world? Exactly.

47. Don’t ever doubt that the person next to you is having a far better time than you are.

48. DO NOT PAY ATTENTION TO PEOPLE YOU DO NOT KNOW.

49. No one gives a shit about your rare collection of Nick Cave 12-inch records.

50. It’s not a career choice. Trust me.

Reading Pitchfork

2010-10-01T14:56:00.001-07:00

...why are Crowded House and Suede releasing greatest hits albums? They've done so already! Silly geese.

I'm just gonna stand here and rock out like an asshole.

2010-10-01T02:16:00.000-07:00

Well, I may be the biggest blogslacker on the planet, but my first Bumbershoot was really amazing - I took a gazillion photos, which you can view here. Weezer aside, highlights included sharing a stage with Jay Electronica, listening to Courtney Love spew such snippets as "Oh yeah, and we adopted that African kid, right?" in a terrifyingly intimate secret show, cheering as Japandroids' Brian King sang "It's raining in Seattle, and I don't give a fuck!" with fifty thousand of your closest strangers on the last day of a totally packed weekend, and snapping a shot of Billy Bragg making a cup of tea on-stage.

Cheers Seattle - it was a glorious sendoff to summer, and I look forward to rocking out with you all winter.

Bumbershoot 2010

2010-10-01T01:56:00.000-07:00

Like what you see? Take a closer look.

Bumbershoot

2010-09-23T19:22:00.001-07:00

I was lucky enough to shoot my first music festival this year - I've been a right blogslacker, but here's some of my shots at Backbeat Seattle.

Fran Healy

2010-09-01T16:16:00.000-07:00

It's a Wednesday evening in August, and HH and I have just been seated at Seattle's Triple Door, one of the most infuriating venues I have ever been to. The venue is in the middle of downtown Seattle, and with its courteous staff, luxurious seating and glowing candles, feels almost like a spa resort compared to the usual amped-up, smacked-in-the-head, beer-spilt-on-shoes experience provided by most alt. music venues. It's nice to sit down, but the flipside, of course, is that even if your high school guitar hero happens to be playing, showing excessive excitement will be frowned upon - this is the place for a nice night out, not a hipster moshpit. I couldn't help feeling more than a little decadent when our waiter asked if we would like to order any drinks. I settled on a mainstage, and HH opted for a mango daiquiri. Brought to us by a waiter I refered to as Dave Grohl for the rest of the night, the daiquiri was the consistency and taste of slightly soft sorbet, while my cocktail was so potent it left my husband wincing from across the table. Wuss.

It is not usual for an act to start on time, and even less so for there to be no support act. Despite the lack of filler, it was still an unbearable wait, so HH and I played "Fran's Outfit Bingo" to pass the time after answering the question "I wonder if I can get wireless internet in here?". He puts his money on converse, and "a stupid hat", while I'm willing to bet on a vest, stripey shirt, blazer, turnup jeans, and that he'll shamelessly plug his mailing list. We didn't do very well, but all was forgotten in the excitement of Fran emerging on stage - I'd been a Travis fan since my teens, but had never managed to see them live until last year - and I never thought I'd be shooting Fran!

The sad sack of britpop's tail-end delivered two hours of moody pop and witty banter, chronicling the rise of the band from art-school obscurity to TOTP regulars. Despite the reputation, Healy had the audience in hysterics for most of the evening, with his self-depricating wit making him completely relatable. Travis played Showbox at the Market last year, but tonight saw Healy on the US leg of his first solo tour, with a deadpan "let's keep this just between us" in reference to his absent band members.

The setlist spanned over two hours and covered material from the entire six-album Travis discography, as well as some choice offerings from Healy's upcoming solo album, Wreckorder. Healy collaborated with a number of musicians for the release, including Andy Dunlop, Neko Case, and Paul McCartney. Fran may have grown up since his first record, but still has his moments of hero worship like the rest of us, with more stories to tell that will surely become the stuff of legend. After asking McCartney to play bass on 'Fly in the Ointment', he convinced his family to become vegetarians in favour of a material thank-you gift, saying "He's probably still opening stuff from the 60s". McCartney's response? "He was stunned...like thinking 'this guy's mental!'". A few days later, Healy opened a FedEx package to discover three Linda McCartney cookbooks, topped with a post-it note reading "Hope this is enough to get you started - Love, Paul" - which now takes pride of place on the family's fridge door - not bad for a guy whose first band was called Glass Onion.

Gone were the amps and electric guitars that were prominent in Healy's last show here - instead the audience was treated to an acoustic set with just Healy's guitar and a piano ("Forgive my banana fingers"), in some cases forgoing even the microphone. The stories behind Healy's songs are charmingly honest - take this example of the single 'Side':

"This next song started off like a rap...I was excited, I thought 'No-one will expect this!'. I knew it was shit when I came up with the line 'You decide!'...I could just see the reviews now...'shit sandwich'".

One of my favourite songs, 'Writing to Reach You' was played early on, and Healy retold of how he had pilfered the chord arrangement of Oasis' 'Wonderwall', which he then referenced in the song (as well as the closing track in The Man Who) in case the Gallagher brothers ever caught wind of it. A sheepish Healy retells his awe of being asked to play as the support act for Oasis after the release of their second album, and of Noel's first words to him as "Nice fookin' chords, Fran". Rock stars are not cool.

The new material is promising, with 'Sing Me To Sleep' (feat. Neko Case) proving lovely to listen to, despite Healy's claims that "you can't tell the difference between the man and the lady". Another favourite is 'Rocking Chair', a ballad of dementia inspired by British newsreader John Suchet dealing with his wife Bonnie's slide into Alzheimer's disease. Healy's music still sounds full and heartfelt minus all the trappings, no matter what his wry disclaimer may be.

Setlist:
20
Writing To Reach You
More Than Us
Anything
Sing Me To Sleep
Side
My Eyes
Rocking Chair
In The Morning
As It Comes
Indefinitely
Buttercups

Encore:
Re-Offender
Blue Flashing Light
Turn
Flowers in the Window

You can view more photos from the night here. Wreckorder is released October 5th and can be pre-ordered here.

This should be interesting

2010-08-31T22:32:00.001-07:00

Dear blog,
I know it's been a while. Forgive me.
Back soon.

xxN

Fuckin' awesome.

2010-07-25T17:30:00.000-07:00

I love Gruff Rhys

2010-07-01T14:50:00.000-07:00

Pitchfork included this gem on their TV page, and I'm too much of a Gruff Rhys fan to resist sharing it here. From his work as frontman of Super Furry Animals, to his solo career, to his collaborations with artists including Sparklehorse and Gorillaz, I find his work engaging, quirky, and fun. Enjoy, and TGIF!

Tony Da Gatorra vs Gruff Rhys: In a House With No Mirrors (You'll Never Get Old)

Evelyn Evelyn

2010-06-05T07:58:00.001-07:00

Caberet-twins Evelyn Evelyn recently performed at Seattle's Showbox at the Market, bringing their whimsical and quirky acoustic set to a sold-out crowd of all ages, many children included in the audience. I posted previously about the backlash the project (headed by Amanda Palmer and Jason Webley) received after a poorly written backstory implied that the conjoined twins could only overcome their history of abuse with the help of Palmer/Webley themselves, so I was interested to see if the show struck me as being 'ablelist'.

I was pleasantly surprised to find that it didn't make me uncomfortable at all - in fact the crowd was kept laughing throughout the show by the deadpan humour on display, which is largely drawn from the juxtaposition of AFP/JW's trademark raucous behaviour with the subdued, deliberate, and at-times awkward performance of the twins. I suspect a few tweaks have probably been made since these issues were raised, and without giving too much away I can say that the twins do indeed take control of their situation.

The songs were executed well, given that most of us can't play an accordion, guitar, ukelele or piano to save our lives, let alone with one hand while strapped to another person in a giant mumu. Highlights include 'My Space' and a cover of Joy Division's 'Love Will Tear Us Apart', but I think my favourite has to be a PTSD-ridden rendition of 'Chicken Man', complete with Twix.

Click here for more photos of the twins.

Amanda Palmer also played a solo set, featuring both songs from her album Who Killed Amanda Palmer? and creepy keyboard hits from her Dresden Dolls days. Stormy number 'Sex Changes' went down a treat, and the crowd chanted along to both the staccato opener 'Astronaut' and a reworked version of 'Oasis', which was requested for a fan's birthday.

Keeping the setlist casual, she meandered between songs, saying 'You guys don't like the chairs?' - she admitted to keeping an eye on her twitter feed before the show, and laughing at the suggestion that she marry fiance Neil Gaiman at next year's Burning Man festival.

The night ended in typical AFP style - an audience pointing to the ceiling and spinning in circles, merrily crashing into each other and chanting, while the Evelyn-Evelyn crew swung to-and-fro in a Bacchanalian toast to their various muses. You'll note Palmer wearing a new shirt above, as provided by an overzealous music fan. A fun night - I'll be keeping an eye out for AFP's Radiohead ukelele cover EP in the next few months - now that she has been freed from her record label I suspect all sorts of ideas are in development.

More photos of Amanda here.

Sadly, it's time for another blog-break - this has been a tough year for my family so I find myself flying home once again. I may catch up with a few of you soon!

Die! Die! Die!

2010-06-02T22:23:00.000-07:00

One of my favourite kiwi bands, Die! Die! Die! have just signed with Flying Nun Records. Awesome!

To celebrate, the boys have offered their new single, 'We Built Our Own Oppressors' as a free download from bandcamp.com. I can't wait for their next album to come out - give this track a listen in the meantime!

Flobots, Champagne Champagne and Trouble Andrew

2010-05-26T20:00:00.000-07:00

It was a while ago now that a few friends and I headed over to Seattle to check out Flobots' Neumos performance, but it still stands out in my mind as being a stellar performance.

Local boys Champagne Champagne kicked things off with an energetic performance that included popular songs 'Molly Ringwald', 'Soda and Pop Rocks', and 'What's Your Fantasy?'. Comprised of Pearl Dragon and DJ Gajamagic, the duo had no problem in getting the crowd moving and joining in with their chants of "Champagne Champagne!". I was one of many who picked up their self-titled debut CD from the merch table - I've enjoyed listening to it since and expect big things ahead for this pair.

New York's Trouble Andrew were next on the bill, and brought a unique blend of rap-beats and rock-riffs to the stage. Their moody basslines and layers of synths defy classification, but make for great dance tunes, and with former Olympic snowboarder lil' Trey at the helm, this band is shooting for gold.

Flobots had some teething problems with their percussion section, but soon overcame to give a heartfelt performance. A diverse group, the band was intent on spreading a message of positivity while expanding the horizons of their music. Their latest album, Survival Story, continues their campaign for social justice, tolerance, and solidarity.

Flobots create a unique sound with their use of the viola, brass instruments and layers of drumming paired with vocals that manage to convey defiance without anger, and seek to give hope rather than purely condemn.

From their website:

Flobots responded by waking people up, bringing them together, and telling them they were not alone. They used broad-brush strokes to paint giant murals supporting peace, hope, and change. On the charts and at the ballot box, these slogans had an effect. The mood of the populace shifted.

Now, those murals have begun to crack and fade. People are taking a closer look at what’s behind the slogans, and seeking to come to terms with what they find. Exhaustion. Hypocrisy. Ego. Frustration. Quagmire. Wars with no exit strategy. Lifestyles that are non sustainable. American flag bandanas made in China. Everywhere, we are encountering limits.

Enter the Flobots once more. The situation is more complicated now. The populace is cautious and jaded. The old slogans will not suffice. What is needed is new story.

Survival Story is a vision of hope for a world facing its limits. While others revel in the dystopian, the Flobots remain committed to their ability to rise together. Navigating the coming years will require new tools. It will require narratives that cause us to reexamine our priorities, redefine wealth, and re-inspire ourselves. It will require that we come together in the face of death and write the story of our own survival.

As MC Brer Rabbit said, "It's been a beautiful day, so let's make this a beautiful night!", and the band did their best. While the set inevitably ended with 'Handlebars', the all-ages crowd were hanging out for it, and the hit managed to still sound fresh. Keen for more, the six-piece came out to wow the crowd with their cover of The Turtles' 'Happy Together', and ended the night with 'Rise' - an empowering and uplifting concert experience that had both floors jumping up and down, hands raised to the ceiling and spirits aloft.

Setlist:
Save Yourself
Cracks in the Surface
Same Thing
Arizona
Mayday
Atlantis
Stand Up
Message
Panacea
Jetpack
Combat
Superhero
Good Soldier
White Flag Warrior
If I
Fight With Tools
Handlebars

Encore:
The Effect
Happy Together
Rise

You can see more photos of Champagne Champagne here, Trouble Andrew here, and Flobots here.

So So Modern/Record Store Day

2010-05-03T16:06:00.000-07:00

I have been somewhat absent from the blogosphere recently - a family emergency prompted me to fly back to Auckland for a couple of weeks, which made for a very mixed trip. My visit happened to coincide with a couple of gigs, and I took advantage of them to let out some steam and take some time out from the gravity of why I was there.

So So Modern played Toto/Bacco Room in Auckland to promote the release of their album Crude Futures, supported by Golden Axe. The venue was packed, and the boys played a lively set including tracks from their Friendly Fires EP, as well as their debut album. I had been building up to the release of Crude Futures for some time, so I was fortunate that I happened to catch the gig.

Record Store Day was the following day, and Real Groovy was among the record stores that celebrated the event worldwide. In-store were guest DJs including Liam Finn, Andrew Tidball and Ladyhawke, and there were goodies abound from free drinks and corn chips, to the grand prize draw of an electric guitar and a turntable!

When I left NZ, Real Groovy was in danger of shutting down, with stock being liquidated and music lovers unsure of what would happen to their favourite trading post. Now the Auckland, Christchurch and Wellington branches are all going strong, and it was amazing to see how many people were packed into the Auckland store. There is something magical about scouring rows of CD singles or vinyl in search of that one elusive release to round out your collection - especially in a time where MP3s can be downloaded instantly and cover artwork is reduced to iPod size.

You can view more photos from So So Modern here, and Record Store Day here.

Interview with Minuit

2010-04-02T07:54:00.000-07:00

Minuit are Ryan Beehre, Paul Dodge and Ruth Carr - Photo courtesy of the band.

NZ electronica gurus Minuit are making the most of their success - last year saw the release of their third album, Find Me Before I Die A Lonely Death Dot Com, a video for their track 'Aotearoa' featuring photos from fan submissions, and have kicked things off this year with a steady stream of NZ shows, planning a new EP, and recently airing one of their tracks on Grey's Anatomy. I recently got to chat with Paul Dodge about what the band have been up to - it sounds like things are only going to get more interesting!

You've got a great summer tour lined up, with recent gigs including Homegrown, Splore and BDO. Do you have a favourite summer festival?

We were lucky enough to play Rippon Festival this year - it's a one day music fest set in a beautiful vineyard in the south island of New Zealand. 5000 people sit on the hill at the foot of which is the stage, and behind that is Lake Wanaka that leads up to giant snow covered mountains and then on up into blue sky - alright! Or of course Splore Festival (when we played after Lupe Fiasco and before Basement Jaxx!) where the mainstage is on the shoreline...so you can hear and see the bands while swimming in the sea - if so inclined!

Do you have any pre/post gig rituals?

Beforehand Ruth is usually hiding out somewhere warming up her voice by making weird noises - Ryan will be DJing as our support act - and Paul will be trying to convince the bar staff that he actually IS in the band...

The video for 'Aotearoa' was really well received; it must have been quite a process to put everything together. Were you expecting such an outpouring of submissions and support?

Honestly, we weren't! We didn't know what to expect. We just opened it up to anyone to send in a pic that showed who they are. What represents them - because of the lyric that said " you and me, we are, a New Zealand". At first we thought we'd have to 'pad' out the video a bit, but then they started rolling in and our inbox got such a hammering we got worried we wouldn't be able to fit everyone in! It was a nice problem to have. Its actually quite heavy when you listen to the lyrics but has become a kind of anthem at the live shows. Last week in Dunedin it was like a scene from '8 Mile' - seriously, freaking goosebump moments every show.

I've noticed you guys are pretty active on FaceBook, as well as Twitter and MySpace. How have all of these social media changed the way you interact with fans?

The biggest and best change is being able to actually interact with fans. People being able to respond to us, and we can hear their feedback and comments and reply to it, and anyone posts pics from gigs or comments, that's great. I think that's why the 'Aotearoa' video you mentioned above could work. Which of course brings with it the other side of interaction which is - crazy haters! They're the funniest though 'cos if you get into a conversation with them it is never ending..neeeeever endiiiiiiing............

'I'm Still Dancing' recently aired in the US on Grey's Anatomy, which was great to hear about. Grey's is such a high-profile show; do you plan to maximize the US exposure, or are you happy just to make an appearance? (And did the Shortland Street [a NZ medical drama] crew come knocking on your door demanding a remix?)

Ah haha - i love that Shortland Street theme - its iconic. Yeah man, Grey's was such a coup for a kiwi band to get on. And I didn't realize music was such a debated part of the show. I've found blogs and forums online where people discuss the tracks used in each week's episodes - it's incredible! I'm such a newbie, I don't watch the show but my younger sister follows it religiously and she had to fill us in on the characters...our track plays for a couple of minutes while the action swaps between some intense operating theatre drama and a steamy bedroom scene...ah doctors...how do they keep it up?

FMBIDALDDC sounds much rockier than it's predecessors. What was it like creating a much rawer, organic sound?

Even though Minuit is often billed as an electronic band, and we use hardware samplers to play live - its all about the songs. When we sit down to make an album we may have a few ideas of how it might turn out, but we've found you can't force the songs so they kinda turn out the way they turn out! Like that acoustic track 'Vampires'. Ruth sang it and we tried and tried to make it electronic...but in the end it was a rollicking Irish pub tune! And we all loved it so we kept it on the album. If Minuit sing it and play it, then its still Minuit! This album really surprised us. It's heavy man, and it has some epic in it...I find it quite an intense listen.

How do you see your sound developing for the next record?

Haha - I would just have to retract it later if we made a guess now!

Any plans to head back into the studio soon?
Sure is. We've got the luxury of being able to make up tunes at home...Ruth has a huge pile of lyrics and ideas sitting there ready to go...we wanna put out the Stop Dancing EP - there's a story of when the Taliban moved into a part of Pakistan a couple of years ago which had very old traditional dance schools, and Taliban chose to stop people doing certain things. One of those things was dancing, and the head of a well-regarded dance school teacher was found in a ditch near her body. The next day a notice was nailed to the door of another dance school reading: “We have stopped dancing, please, do not knock on our door”. Ruth has always wanted to put that line in a song. In the "West" we get SO much freedom to go out and dance and do whatever we want - to the extent that its possible to do it so much we can get sick of it! We're lucky to have this band. We're lucky to have the choice. So we're gonna make a 'dance' EP based around all that - watch this spot!

Which artists are you really excited to be listening to at the moment?
I used to really like wall of sound music..but i'm really digging simpleness now, i guess guys like The XX have been pushed forward as purveyors of that recently, making the most of what the song has got, simplifying it, stripping it back, sometimes they can be the loudest tunes! And I'm liking the blend between electro and indie styles..electro has some cool sounds, its fun and kitsch when its retro, but there's also some great stuff around that is pushing forward and mixing it with other styles and sounds and beats and influences, keep that stuff rolling forwards fellas!

I attended Vector Arena a few years back when you supported The Chemical Brothers - that must have felt like quite an achievement! Do you have any musical heroes you'd like to tour with?
If it was one of those anyone dead or alive questions for Ruth i think she'd say Billie Holiday, Nina Simone, Ella Fitzgerald on the same bill with Ruthi carrying the bags on tour! She's been inspired heaps by those ladies, overcoming such odds to simply practice their art - like Ms Holiday not being able to eat in the same restaurant as her band cos of her colour, and then being the main attraction in the same venue later that night because of her talent - its not about style, its about character, and THAT character is where their style comes from!

What would you like to accomplish this year?
Goals are good huh - deadlines even better! The Stop Dancing EP...then onto a new album...and in between try and play as many places as we can again, China and Vietnam...I'd quite like to get to the States again - and how about Seattle?

Any last words for our Seattle readers?
Anyone know any cheap accommodation for when we come play?

Minuit remains one of my favourite bands and I hope I get to catch them live again soon! Watch the video for their latest release, 'Wayho' below:

Xiu Xiu + tUnE-yArDs

2010-03-25T06:57:00.001-07:00

Xiu Xiu is one of those bands that polarize listeners – you either love them or you hate them. I was thrilled to hear they were playing in the Pacific Northwest, while my husband chose to sit it out in the car. They are a band whose antics I find fascinating – whether in the form of “Xiu Xiu for Life” t-shirts painted with the band members’ own blood, or their latest video "Dear God, I Hate Myself", a controversial effort which features keyboardist Angela Seo inducing vomiting while frontman Jamie Stewart happily vanquished a chocolate bar. Similarly, Stewart’s dark yet ridiculous lyrics delight legions of fans – I’ve recently become fond of describing people as a “sopping wet towel of stupidity”.

On Tuesday night Xiu Xiu put on a condensed show at The Northern – Olympia’s answer to volunteer-run venue The Vera Project. Percussionist Ches Smith was absent from the lineup, and although this was not explained I am inclined to speculate that perhaps it was simply that there was a shortage of room onstage – instruments and equipment for Jamie and Angela took up the entire 8 x 8 ft stage. Not content with the standard keyboard-and-guitar setup, the stage also boasted racks of gongs, cymbals and cowbells, as well as quirkier instruments ranging from a lemon-shaped maraca to a Nintendo DS fitted with a keyboard application, and not least of all an apparatus that resembled something ripped from a snorkel.

Spanning about an hour long, the distortion-heavy setlist included old favourites such as “I Luv The Valley OH!”, as well as new tracks “Dear God, I Hate Myself”, “Chocolate Makes You Happy” and “Gray Death”. The all-ages crowd swayed, cheered, danced along and were happy just to come along for the ride. The pair felt no need to build a rapport with the audience, although Seo made short work of a heckler during the soundcheck, imitating his slack-jawed “whaat?” to perfection and much laughter. Stewart projected a steely exterior as he stormed through a multitude of guitar riffs and cymbal-clangs – rarely have I seen someone perform with such a singular focus.

They say that any publicity is good publicity, and one artist who should bear that in mind is New England’s own tUnE-yArDs, aka Merrill Garbus. Her performance was spirited, soulful and innovative, making ample use of two drums, two microphones and looping pedals to create a lo-fi cacophony that earned accolades from the audience. At times though, her yodeling, screeching and bleeping vox fell short of the Bjork-like world she was attempting to create, resulting in laughter from the crowd and even her own bass-player! I found her vocal range spanned from ridiculous to utterly enchanting, and will definitely try to catch her again. Garbus has a wide range of influences, from Yoko Ono to Cyndi Lauper – and her drumming/chanting style can sometimes conjure up the mysticism of West Africa. Quirkiness aside, she has opened for Dirty Projectors and will be playing at Sasquatch this year, proving that sometimes it’s better to be different than to be lost in a sea of mediocrity.

Xiu Xiu are fundraising for At the Crossroads, and donors are thanked with a number of small gifts ranging from photos with the band, to handmade postcards and an exclusive collection of photos by David Horvitz. Donations are accepted online or at show venues – see their website for more details.

You can view more photos from the night here.

Gomez + Buddy

2010-03-25T06:55:00.000-07:00

Seattle was recently lucky enough to host British rock legends Gomez at The Crocodile over two nights. Unsurprisingly both nights sold out quickly, and drew fans from all over Washington – it’s quite rare to see a band of this caliber play at such a small venue. As a fan of all things Britpop, I couldn’t pass up the chance to see them live. The last time I’d seen them was at Auckland’s Powerstation, but The Crocodile afforded a much more intimate experience.

The music of Gomez is dense, joyous and experimental, with the five piece band splitting frontman duties threefold and juggling a multitude of guitars. Drummer Olly Peacock held his own amid a hulking tower of percussion equipment, including fifteen different cymbals! This was one concert you would probably want to bring earplugs to – while it opened with an instrumental of “Whippin’ Picadilly” that inspired a crowd singalong, the boys upped the decibels pretty quickly.

Ben Ottewell draws inevitable comparisons to Eddie Vedder, but I like to think that these guys would come out on top over Pearl Jam - with six studio albums under their belt, I can't wait to see what they come up with next.

Setlist:
Revolutionary Kind
Shot Shot
Silence
Slope
See The World
Meet
MNS
Notice
Machismo
If I Ask You Nicely
Lost
Hamoa Beach
Rhythm & Blues Alibi
Bring Your Lovin' Back Here
Ruff
Little Pieces
Sweet Virginia

Encore:
How We Operate
Airstream Driver

Opening act Buddy:
You can find more photos of Gomez here, and of Buddy here.

You Say Party! We Say Die!

2010-03-17T15:45:00.001-07:00

Canadian dance/punk group You Say Party! We Say Die! played Chop Suey March 9th, and what a fun night it was! Due to visa restrictions the band hadn't played in the US for four years, so with a green light from Homeland Security and a new album XXXX to promote, Seattle welcomed them for the first stop of their tour with open arms and raised tumblers.

Their twitter feed reads "ONE.......................OVER THE BORDER LINE! BACKING U.S.S..........A!!!!!!!!!!!!! STOKED! the air here smells like freedom! haha", which is pretty typical of their attitude not to take things too seriously.

The energetic setlist included songs from their three albums, including 'Opportunity', 'The Gap', 'Dancefloor Destroyer' and 'There is XXXX (Within My Heart)". Lead Becky Ninkovic was the driving force with her twisting stage presence and dynamic vocals, with audience members whipping up a frenzy on the dancefloor.

I would have liked to see a live rendition of 'Don't Wait Up', but the set ended with crowd shout-along 'You Say Party! We Say Die!' which included drumsticks being bitten in half and the revelers up front being more Bacchanalian than ever - I managed to stay out of the way as the party machine finished things up. Well worth the wait, YSP!WSD! is currently at SXSW - the rest of the country can look forward to a great series of shows.

People Eating People was the warm-up act and a perfect way to get everyone revved up for the night. A solo act, vocalist Nouella Johnston sounded like a hybrid of Kate Nash's vox and Amanda Palmer's piano style - not a bad thing! The music is jaunty, fun, and put simply, great to jump around to. Johnston uses her smoky voice it great effect during songs such as 'I Hate All My Friends', 'All The Hospitals' and 'Building Armor'. I should have snapped up a CD after the show and will have to keep an eye out for it on my next trip Sonic Boom or Easy Street Records.

Touring drummer Brian Turner remains one of the most timid musicians I have ever seen - you can take the photo below as proof!

View more photos of YSP!WSD! here and PEP here.

Interview with Music Hy.pe

2010-03-16T15:14:00.000-07:00

Music Hy.pe is a new social media platform based in Wellington, NZ, that rewards you for listening to music, spreading the word on what's out there, and brings music and fans together. The fledgling site has been collaborating with NZ rockers The Mint Chicks - hosting live webstreams of exclusive concerts, launching limited-edition EPs, and is currently running competitions to design their new t-shirt and music video. I recently got to chat with Digital Strategist Annabel Youens to see what all the hype was about - check it out!

Why should readers sign up with mHype?

I think that if you're into music and like to spend time on sites like LastFM and YouTube (checking out music videos) you'll like what we're trying to do. It's early days but I think people get a sense of the kind of relationship we're trying to create between bands and fans. We want to run heaps of competitions and always have something cool happening on the site, and we really can't do this without more lovely members and their input.

Are you happy with the reception mHype is getting so far? I can see it getting really big pretty fast...

We're so pleased that we've been welcomed into the online music community. It's been really lovely because not only has it been virtually with great tweets and emails but also locally. Around New Zealand we're getting to talk to labels, bands and other folks who really get what we're trying to do. It's a such a reward for the hard work we've all put in - such a small team of 10 it's amazing to think we've come this far in only a month and a half :)

Were you pretty well prepared to go live, or were there some unexpected bumps along the way?

Always a few bumps with a go live ;) We used lots of coffee, beer and lovely home-made meals to smooth out the rocky road.

It sounds as if you've landed a dream job! Can you tell me a bit about how mHype started out?

I have to say I do love my job - getting to meet amazing musicians and help them reach new fans is such fun - beats my first job pumping gas! MusicHype only really started seriously in September last year. Jeff Mitchell (our MD and Solutions Architect) and I were approached by a local angel investment house called WebFund. The guys there had an idea that they wanted to do a music promotions site that would help bands connect and collaborate with their fans. And just like that we were off and planning MusicHype. Sometimes everything really does seem to come together at the right time.

Tell me a little bit about the team. You seem a really diverse bunch; how was it working on such a large project?

We have such an amazing team here who really care about the site and our members, so the late hours, the huddles, the strategizing, and the countless revisions seem so much easier when you work with people who love what they do. The core development and design team have worked together for the past three years so we've got a pretty good rhythm and know how to work with each other. It's a huge asset to have a tight team already in place for a start-up. A huge shoutout to Thomas, Mike, Hannah, Dave, Steve, Nick Stefan. Jeff and I couldn't do it without you!

You seem to be involved in all levels of music consumption - from tracking what fans are listening to, to throwing launch parties and offering discounts on music books and other products. What do you consider to be your priority?

Our priority will always be working with bands to help them collaborate with bands. For us that's the core of our site. On the other side we also think it's important that music fans are recognised for everything they do on the web to support the bands they love. I guess it's really these two tracks that we try to balance everyday.

What is your favourite feature so far?

I'm just a huge fan of the competitions - it's a big feature but I just love it, especially how it's going to change and grow as different bands come on board and want to try new things. I just wish I could enter :(

Will you consider adding a feature that tracks when readers actively review a gig or cd? That would be neat to track and build a database of...

Absolutely - that is a great idea. If anything we have too many ideas! We're trying to be very conscious about which one's we implement, and like you alluded to earlier, stay focussed. It's such a danger in any start-up to get swept away by the latest and greatest. I always reference Star Wars when the rebel alliance are flying down the death star alley, "Stay on target...stay on target..."

Given the success of the Bad Buzz EP, do you have any plans to release other eps/albums under the mHype umbrella?

I think we'll be doing all kinds of things with our future bands and other releases are definitely in the plans. But ultimately it's going to be up to the artists we work with. We've created a platform that can help bands do almost anything digitally, with a team of people who have worked in the web space for over 15 years. It's early days and I can imagine that within a year we'll be doing things on MusicHype I would never have guessed.

mHype seems a really innovative way to directly connect musicians with their fans, and a particularly organic move given we are seeing a lot of bands communicate via social networking. Do you have any other artists lined up to jump on the mHype bandwagon?

Great question! We are talking to a number of artists and bands here in NZ and overseas. That's probably one of my favourite parts of the job getting emails from bands, managers and independent labels who say, "we love what you do - how can we work with you." News coming very soon on our next bands and next competitions.

When can we expect to see some more goodies in the shop?

Soon! Our shop is going to be filled with lots of hand picked goodies - towards the end of March we should be launching the full store. I'd like to think we'll end up being the thinkgeek of music stuff (http://www.thinkgeek.com/). And I'm always looking for products so if any of your readers know a "must music have" please email me shop@musichype.com

What would you like to have accomplished with mHype within a year?

I would like to have a bigger and even stronger community of members who keep giving us ideas and help us reward them :) I'd like to have several major bands on board running con-current competitions. I'd like to have live-streaming concerts happening around the world, plus an office in North America - and so far it's looking good.

What albums are you really excited to be listening to at the moment?

Yesterday we just pre-ordered the new Broken Social Scene - can't wait! And of course the Mint Chicks EP is on high rotation - damn it's a good EP.

Anything else for our Seattle readers?

I'm originally from Victoria on Vancouver Island so Seattle is very close to my heart - being a west coast town and all. Plus the grunge years were my formative years in high-school...ah Soundgarden - so hello lovely Seattle!

Wednesday Snippets

2010-03-03T14:18:00.000-08:00

Move over Hard Rock - here's a Wilco-themed sandwich shop in Toronto
Auckland alt. rockers Die! Die! Die! release their latest video, 'We Built Our Own Oppressors'
Music Hy.pe will be streaming the next concert by The Mint Chicks, March 5th (that's the 4th for our part of the world) at Wellington's San Francisco Bath House. Members can redeem "notes" to tune in (kinda like carnival prizes), or else NZ$3 (that's about US$1.50) will get you in the virtual door. A neat idea, and I expect that the fee will make it worth much more than the usual post-gig shaky YouTube videos that are up for offer. Get in on the action here!
Pitchfork.com interviews Chris Knox on his influences - Shayne Carter helps the music legend (who suffered a stroke last year) communicate the shock of the new.
I'm looking forward to Friday - I'll be shooting at Neumos for the official SXSW send-off. With Visqueen, Fences, Hey Marseilles, and my favourites Mash Hall on the bill, it's going to be a great night!

This Too Shall Pass

2010-03-02T02:37:00.000-08:00

I'm not a huge OK Go fan, but their latest video is amazing and should be watched by everyone - even if you turn the sound off! Their YouTube page also has a series of "making of" videos, for the curious and technically minded.

Interview - The Mint Chicks

2010-02-28T12:40:00.000-08:00

image courtesy of the artist

2010 looks to be a pretty good year for troublegum-art rockers The Mint Chicks - they've partnered with new social networking media label Music Hy.pe, released their new Bad Buzz EP on a groovy looking USB stick, and have a string of shows around New Zealand. I recently got to chat with guitarist Ruban Nielson about what they've been up to lately.

N: You guys did well in a lot of 'end of the decade' polls, particularly the one put out by Real Groove magazine. When you were touring/promoting albums, etc., did it feel as if you were doing something really groundbreaking, or just having fun doing your job? It must have been a hell of a ride.

R: To be honest I can't really remember right now whether I thought about the future or not. I guess when you're in a band you kind of have to think you're the shit to get stuff done but at the same time it's not like you're searching for a cure for cancer or anything.

N: You've had some pretty crazy gigs, and I recall seeing you with Shihad at AUT swinging off the rafters and really putting on a show. Have you guys always managed to walk away unscathed? Do you get worried phonecalls from your parents/partners?

R: Our friends and family are pretty concerned. Especially about Kody. Everybody has kind of gotten used to it now. We've been pretty lucky so far. I know a lot of guys who jump off drum risers and amps and break their foot or something and yet we've done some pretty crazy stuff and walked away with a couple of scratches or bruises.

N: Your work with Music Hy.pe seems like a great way to open up dialogue with your fans and establish a real sense of community. What attracted you to the venture?

R: We have some mutual friends. It was pretty casual really. I don't know what a fan is anymore. Anybody who likes my band can e-mail me at 3 o'clock in the morning and have a chat or whatever. A lot of my closest friends have everything we've ever released. It must have been hard back in the day when you were forced to be a rock star. More money I guess but you wouldn't be able to go to the supermarket.

N: How has the response been to your remix/cover competitions? It's a great idea, but I see the deadline has been extended a couple of times too.

R: Yeah people need time. On the internet a week is a lifetime but in real life when you have to go to work and school who has time to do a remix? Having said that a lot of people took the time and there's some amazing stuff that came in. A lot of people piled their remixes in at the last minute so it was worth extending the deadline. I'd never done it before so I had absolutely no idea how many was a lot. 500? 10? I think in the end there were about 50. It seems like a lot to me.

N: Your music videos are already really creative and experimental. Is there something you are looking for in opening up the director's chair to the fans? Has it been hard to surrender the creative reigns?

R: I just hope somebody will come up with something totally new. I want to discover a new great director. In my ideal world there is the world's next Stanley Kubrick and they're going through highschool right now and their first breakthrough thing is a video for us! I guess that's the point. Getting people to come out of the woodwork and apply their genius to our music!

N: Bad Buzz was released with Music Hy.pe after your split with Warner last year - do you think there’ll be more Mint Chicks releases under the MH umbrella? I read you’ve had talks with the Flying Nun, too…

R: It's possible. We're still pretty busy doing our current stuff with musichype to really talk about the future yet. We've been talking pretty seriously with Roger Shepherd about Flying Nun. We didn't really split with Warner, our contract just ran out and we didn't feel the need to renew it. Also we never really signed to Warner, they just bought the record company we were on! But now that Flying Nun is it's own thing again that's pretty exciting.

N: I've pre-ordered the Bad Buzz EP and it will probably take a while to get to me. What can I tell readers to expect in the new songs?

R: I'm so bad at describing our music. I can only describe little sections at a time. One part sounds like the Turtles if they had invented a vocal harmoniser in the sixties. At one point we reharmonise the ABC song. Another part sounds a bit like a rubber ball bouncing and it keeps changing states from rubber into liquid. The rest is just pop songs really.

N: How does it feel to have Michael back in the mix? I know that your sound evolved radically when you were a three-piece; how will this affect the cohesion of the band as a unit? Was there an awkward breakup/hookup/get-together phase?

R: It was pretty straight forward. Adding bass back into the mix was a pretty easy process. We recently added another bass player so now we can have two bass players for a while. It's working out well. After reducing it feels like it would be cool to build it up again. Maybe add a couple more people. Another keyboard player etc.

N: Any plans to relocate to Oregon soon? You'd be welcome in Seattle, too.

R: Yeah we'll get back to Portland in March.

The Mint Chicks' Bad Buzz EP is out now on Music Hy.pe, and play upcoming shows in Christchurch, Dunedin, Wellington and Auckland.

Four Tet w/ eR DoN and Nathan Fake

2010-02-27T06:34:00.000-08:00

Kieran Hebden/Four Tet played to a sold-out crowd at Chop Suey Tuesday night, as part of his tour to promote his latest release, There Is Love In You. What better a way to stay out of the rain than to take in the expansive sounds of his folktronica beats, along with an enthusiastic crowd?

Hebden boasts an impressive resume, including opening for Radiohead, and executing innovative remixes for some of my favourite artists, including Super Furry Animals, Bloc Party, and Thom Yorke.

Unfortunately, this gig didn't quite do it for me - layered beats aside, Hebden's stage performance really did come down to one man and his laptop, and other electronic acts I have seen live usually pump things up through their use of lighting, live vocals and at least one instrument - while Chop Suey is hardly the venue to host a laser light show, there are other things that could have been done to rev things up here. I remain impressed by Hebden's ability to pull everything together, but I think I prefer a livelier concert experience.

Four Tet was prefaced by two support acts, the first of which was Seattle's own eR DoN/Robert Nelson. Flanked by Truckasauras' Tyler Swan on the drums, Nelson's intricate mixes created a winning formula to get people moving on the dance floor. This was the highlight of the night for me, with Nelson and Swan not being afraid to communicate with the audience and create some serious noise. I will definitely be investigating his releases!

Second up to the plate was Nathan Fake, also hailing from the UK. Fake released an album last year titled Hard Islands, and he too proved popular with the crowd - I definitely felt the floor get a little more packed during his immense set!

I may have been the only one, but his set did drag on a little - after a while House music just blends together and sounds the same to me. This wasn't helped by the fact he didn't say a word during his set - at the end of each track he would shyly look upwards, give a quick thumbs up and get right back to business. I prefer a little banter in between songs, especially if you're just playing on your keyboard, which is what I could have been doing at home on this very rainy Tuesday night.

If House is your thing, I'm sure you would have been among the many happy dancers at Chop Suey that night - but I think at heart I remain a rock-n-roll gal till the end, no matter how much awesome music I discover. A couple of days later I listened to There Is Love In You again and caught myself thinking "You know, this is really good..."; I just don't think it translates well into a live concert experience at a small venue.

You can view more photos here.

Who Killed Amanda Palmer?

2010-02-19T08:00:00.001-08:00

This post is rather long, but I think that it raises some interesting questions on ethics, censorship, and artist responsibility. I wrote the first half of this post a few days ago, and have written the second half as a brief response to the artists' feedback. This is one post where I am particularly interested in reader's comments.

Amanda Palmer and Jason Webley are two great artists - they make amazing music, have a strong creative vision, and openly engage with their fans on a regular basis, whether via social networking sites or at shows. I have followed Palmer's work for about six years, and count her/The Dresden Dolls as among my favourite artists. However, the events that have unfolded regarding their Evelyn Evelyn project (starting here) over the last few days have left me feeling rather unsettled, as well as a bit saddened - here are the points in brief:

Evelyn Evelyn are conjoined twins, who were discovered by Palmer and Webley via MySpace about three years ago, and have been working with them ever since to produce music. They are about to embark on a world tour to promote their debut album.
The twins are very shy, and thus do not allow anyone to video/photograph them, nor will they do any interviews. Palmer/Webley are the media contacts, do all the interviews themselves, popup in YouTube videos of Evelyn Evelyn, sound strangely like the twins singing on the songs uploaded to MySpace, and appear at all of their shows...
For anyone who couldn't figure that out, Neil Gaiman also revealed that the twins were fictional on his FaceBook page. A lot of people are shocked and angry that they've been had; particularly if they just read the news on twitter and didn't bother to research the band for themselves. I think that this point is irrelevant, but part of the debate nonetheless.
I largely believe in artistic freedom, and I don't think that there is anything wrong with creating characters to act as a vehicle for one's music - Gorillaz, The Monkees, and Milli Vanilli all come to mind here. If you like the music, it doesn't particularly matter who is making it as long as it speaks to you. Additionally, it is well known that Palmer has some trouble with her current record label, and so it makes sense that she would release a record under a non-signed moniker, with her being directly credited only as a producer in order to avoid any legal action from her label.
The part that leaves myself and many others confused/angry is the way in which the whole Evelyn Evelyn backstory was presented - an origin story had been dreamt up for the twins, which included them being exploited as part of a child pornography ring in addition to being part of a travelling circus. Additionally, the twins' persona is pretty cringe-worthy - painting them as painfully shy, having socialization/developmental problems, and needing to be "rescued" or "discovered" by able-bodied people in order to succeed in life and escape exploitation and obscurity. Palmer and Webley are glorified as being the heroes of this scenario, including mentioning that they are helping the twins to get "legal action" in regards to the abuse they suffered as children.
Anyone who reads the Evelyn Evelyn twitter or even the recent Spin magazine "interview" will find it hard to stomach the childlike ineptitude of the pair - their stunted language, their apparent fear of beards, their sulky and difficult behaviour. Unlike something like South Park or Family Guy, it is not obvious to onlookers that this is a ruse - although for entertainment, this isn't presented as a joke. Feminists With Disabilities wrote a much more articulate post about this here.
Palmer is not one to shy away from controversy - her previous recordings address topics such as abortion, transgender issues, self-harm, masturbation, alcoholism, rape, and general insanity, to name a few. She recently stripped off on the red carpet at the Academy Awards, and has published a book of photos of herself meeting various grisly deaths. The main difference here is that Palmer has embarked upon all of these previous artistic ventures as herself, instead of creating characters and assigning them disabilities and a history of abuse while not immediately disclosing them as a work of fiction. The Dresden Dolls getup was very gothic, cabaret-driven and much of a spectacle - and it could well be that Palmer/Webley just thought it would be fun to pretend to be conjoined twins/circus freaks - but in that case, why not just do so without making the premise much darker than it needs to be? Circus acts recording music can be overlooked, but joking about being victims of child porn and portraying the twins as incompetent does not add anything but a bitter taste to the story or the music. I do not imagine that this is empowering to anyone.
I like the Evelyn Evelyn tracks that I have heard, and no doubt the artists will be somewhat surprised at the amount of backlash they have already received. I will be very interested to see what Palmer/Webley have to say about the situation. Art is not always comfortable or nice, and pushing the boundaries and thinking about what is acceptable is a good thing. I find this quite interesting and am wondering where to draw the line between PC pandering, artistic license and how to leave the house in a world where people can be offended more readily than ever before.

EDIT: Jason Webley posted his response to the backlash here, and Amanda Palmer on hers, here.

I have to say that I am disappointed with the way that this was handled - both Webley and Palmer sound insincere in their apologies, with Palmer postings some particularly petulant tweets:

"setting aside 846 emails and removing the disabled feminists from her mental periphery, @amandapalmer sat down to plan her next record."

"for those who didn't understand that one: i will re-translate: "time to make art. not time to argue points with people."

"...i've already spent a good portion of the day sorting this one out. now, she says, back to work. and for real, this time, jesus....pain is inevitable. suffering is optional."

"the buddha said: hatred is never ended by hatred but by love. to the half-dozen people screaming out FUCK YOU on repeat right now......please think about the general message you're sending into the universe. if your goal is to ensure we're all equal & living in harmony......you're failing and creating more negativity."

Unfortunately, when you're touring on the opposite side of the world when you've chosen to launch a controversial new project and shit has just hit the fan, it's really not a good idea to blow off your fanbase with a couple of twitter updates.

To worsen the situation, Palmer's actual apology sounds forced, placing the responsibility back upon the hurting parties by saying "I deeply apologize if anyone has been offended by our project" - taking the passive voice here isn't a great idea. Palmer then goes on to say that she had told "the “story of evelyn evelyn” to hundreds of people over many wines and coffees for the last 2-3 years. some close friends, some mild acquaintances, some journalists" - but she had not canvassed the opinions of anyone outside of her loyal, star-struck circle. There is no response to the dialogue put forward by the hundreds of fans, feminists and members of the disabled community who commented - merely a reiteration that Palmer loves her art and will continue to make it and "be brave". Is someone getting too big for their britches?

Amanda then confessed that despite the hundreds of well-articulated, thoughtful, intelligent comments on her blog, she decided to log into her forum The Shadowbox for feedback instead, because "people are less likely to leave anonymous comments (since you have to be logged in with an identity, and therefore accountable to others for your point of view). i tend to take criticism there more seriously, since people really need to stand behind their words without their masks on." - Sorry, what? I'm a member of The Shadowbox, and I don't use my full name - I use an internet handle like everyone else there does. To dismiss the immense amount of feedback (over 1000 comments over the two blog posts) on her blog as less serious or sincere deals a huge blow to everyone who bothered to comment and further alienates her fanbase. It is especially disappointing given the huge reliance Palmer has built on her internet fanbase to provide her with support, from ticket sales to providing accommodation, food, instruments and transportation over the years - the fans have always responded to her requests and I daresay would like such respect returned in kind.

Palmer continues, "yesterday i found myself chewing all of this upsetness like a bone in my mind. i’m also PMSing, and that made things even lovelier." - Okay, Amanda. PMS can be pretty crushing, but it's no excuse for not doing your job, blowing off your fans and marginalizing people. This whole thing smacks of shrugging off responsibility - clearly the confused, negative response was not anticipated, but I really would have liked to see some effort put forward to address the concerns raised. If nothing else, it's the professional response to a valid business query, and I can only hope that Palmer/Webley have a good long think about things and try again.

Head Like An Espresso Truck, Friday 12 February

2010-02-13T19:37:00.000-08:00

I wasn't officially on duty last night, but I couldn't bear to go without my camera - and I'm so glad I brought it with me! Here's what went down at Neumos last night:

I am still discovering who the must-see local acts are in Seattle, but last night's gig served as a pretty good introduction to the local scene. As well as Fresh Espresso, Head Like A Kite and Truckasauras, the night was also packed with special guests including Katie Kate, They Live!, Mash Hall and Pearl Dragon.

The evening presented a merging of experimental electronica with hip-hop, with lively results - the crowd was hyped, with everyone having a good time whether they were more into the synths or the fast flow of rap. With Truckasauras at the helm, the audience danced to their signature disjointed video compilations, including footage of Hulk Hogan whizzing along in a speedboat, looping clips of "hip hop square dancing" and proton-pack action from Ghostbusters.

Lasting three "rounds", the evening was a little like a musical tag-team match - the bands slipped on and off the stage, collaborated together, and did covers of their peers' songs. It was somewhat disappointing that there were breaks in between rounds as the show had been advertised as having "no set changes", but these guys were working up a sweat - Head Like A Kite's Dave Einmo jumped into the audience, and wielding a bizarre-looking telephone contraption managed to surround himself with a circle of jumping girls in no time.

When I bought my ticket I was only familiar with Truckasauras, but now I have many local acts to check out, and I'm quite excited to be immersing myself with the music here. Pearl Dragon's Champagne Champagne is playing a few gigs next week, and I may end up paying a visit.

Today's report from The Seattle Times also included the setlist, photo taken by Andrew Matson.

You can view more photos from the night here.

Tonight!

2010-02-12T12:38:00.000-08:00

Tonight I'm off-duty and headed to Neumos to check out Head Like An Espresso Truck - a one-night-only merging of Fresh Espresso, Head Like A Kite, and one of my favourite Seattle bands, Truckasauras.

I first saw the Truck boys at last year's Capitol Hill Block Party, and they are a band to watch - they are part of the SXSW Talent Alliance in March, and can only go up and up this year!

Some cool snippets I've read about recently:

2010-02-10T17:24:00.000-08:00

image from www.themintchicks.com

New Gorillaz video online at Juxtapoz magazine
Frances Bean Cobain records track with Amanda Palmer, Neil Gaiman, Weird Al, Andrew WK, Tegan and Sara, Gerard Way and conjoined twins Evelyn Evelyn - via Spin magazine
The Mint Chicks release "Bad Buzz" EP on USB format, and are running screeds of rad competitions on Music Hy.pe
Thom Yorke to play a benefit for the British Green Party - via Pitchfork
Did I mention the pending Sasquatch! 2010 announcements? Awesome.

Sasquatch! Music Festival Launch Party

2010-02-10T16:32:00.000-08:00

I am super excited to hear the lineup announced for Sasquatch! 2010 - Pavement are headlining, which is a major drawcard just in itself. To sweeten the deal, Sasquatch! is doing something a little different this time around and hosting a party February 15th at legendary venue The Crocodile. Announcements will be made during sets by Surfer Blood, Atlas Sound and Fresh Espresso, and what's more tickets are free for those lucky enough to score them. I really hope to make it there - I honestly cannot think of a better way to kick off the week!

Happy Waitangi Day

2010-02-06T18:23:00.000-08:00

Today is Waitangi Day, and I thought I'd post some New Zealand music for a feel-good Saturday night - The Phoenix Foundation's 2009 music video for their single '40 Years'. It's extra fun to watch because it was directed by Taika Waititi, who stars as a knight-slaying, babe-pashing, prisoner-freeing jogger/rockstar extraordinaire.

Waititi has a new film coming out in March, called 'Boy' and it looks bloody choice as - you can check out the trailer here.

The Cribs/Jemina Pearl

2010-02-04T13:49:00.001-08:00

Saturday 30 January saw me at Seattle's Showbox at the Market for The Cribs/Jemina Pearl. Jemina was first up, and the former Be Your Own Pet frontwoman was a ball of rock-n-roll energy, twisting and dancing her way around the stage.

Touring in support of her solo album, Break It Up, she played hits 'Heartbeats', 'Undesirable' and 'I Hate People' - all of which are catchy, but if you weren't familiar with her work her vocals could run together and get a bit lost.

English rockers The Cribs turned out in full force, and frontman Ryan Jarman didn't hesitate to rock things up:

Inevitably it was guitarist Johnny Marr who stole the show, drawing cries of "I love you Johnny!" throughout the set. This guy sure gets around - about this time last year I saw him play in Auckland as part of Seven Worlds Collide.

You can view more photos here.

Asobi Seksu at Triple Door

2010-01-26T18:44:00.000-08:00

Seattle artist Toby Campbell/Anomie Belle opened for Asobi Seksu Wednesday night, filling the expansive Triple Door with her lush and soulful sounds. Backed by an acoustic ensemble, Campbell proved a delight as she dashed from her mic stand to her guitar, then her macbook, and then back again in order to create intricate waves of sound.

Campbell played a number of tunes from her 2008 release Sleeping Patterns, as well as her upcoming album. Her music incorporates her classical violin training with an intriguing electronic backdrop that is gathering a steady following. Her lyrics include themes on politics, social injustice and other topical issues. Campbell has collaborated with hip-hop artist Mr Lif, (who opened for Chali 2na last year) and toured with the legendary Tricky - she is surely an artist to watch.

Anomie Belle is currently on tour throughout the country, including playing in support of The Album Leaf at Neumos Saturday 6 February.

You can view more photos from Anomie Belle's set here.

New York experimental pop group Asobi Seksu were up next to promote their new release Rewolf, and were a hit with the crowd. Playing a rare acoustic set made for an intimate evening filled with delicate xylophones, expansive percussion and the ever-impressive vocals of Yuki Chikadate.

Chikadate proved an amusing conversationalist, stumbling through the introduction to a song by recalling a drug-addled evening that went horribly wrong: "To make it even more perfect, we decided to eat a lot of mushrooms...the sky was pink, the grass was swaying, I could tell the trees really loved me, and I loved them back! Then...I put a bird with a broken neck into my purse, put it in my car, and drove to town". Sadly, the mistreated bird didn't survive the evening, but the Asobi Seksu website has since bourne a bird in tribute, and the resulting song does sound lovely.

The set included a number of hits including Transparence's Urusai Tori' and Citrus' 'Goodbye'. Stripped of their usual bag of tricks, their sound transitioned effortlessly and did not suffer from lack of distortion pedals, as demonstrated by the haunting 'Breathe Into Glass'.

Both bands were the epitome of humble, with Yuki and Toby manning the merch booth themselves at the conclusion of the show. You can view more photos from the set here.

Mr Plow, that's my name

2010-01-13T03:15:00.000-08:00

According to his blog, months ago techno-extraordinaire Moby was asked to do a remix of the song "Mr Plow" for Supersize Me's Morgan Spurlock. Spurlock's latest documentary, The Simpsons 20th Anniversary Special - On Ice! In 3-D! premiered January 10th - I wish I'd known about it sooner! Somehow this melding of The Simpsons, the king of fast food binges and techno couldn't help but be a marvellous thing - and the results are below.

There's also a few others up on YouTube - my favourite is the punk remix. Enjoy!

Free Four Tet + new album/tour details

2010-01-12T00:03:00.000-08:00

There Is Love In You

Last month, Four Tet (Kieran Hebden) did a custom mix-CD for the crowd at London's Plastic People party. After the mix appeared on a rash of blogs and music websites, rather than fight the fans, Hebden instead posted the new tunes on his website - I recommend a listen. The mix includes new songs “Love Cry” and “Sing” off the forthcoming Four Tet album, There Is Love In You, plus a new track “Moth” and a Joy Orbison remix of “Love Cry.”

There Is Love In You is out January 25 on Domino Records, and Four Tet plays Seattle's Chop Suey 23 February.

Casiotone for the Painfully Alone

2010-01-10T02:03:00.000-08:00

“Things have gotten a bit weird here…I’m going to have to reign things in a bit”. Owen Ashworth, better known as Casiotone for the Painfully Alone stares somewhat apprehensively at his keyboard during the low-key performance, then emulates a drum pedal. We're at Seattle's The Vera Project for the January 7th show, and the audience is a little out of hand.

After opening with ‘Optimist Vs. The Silent Alarm (When The Saints Go Marching In)’, Ashworth relayed stories of how he tours the Pacific Northwest each year as an excuse to visit his brother Gordon on his birthday, previously resulting in car accidents and being trapped in an elevator in Victoria for hours. “Cross your fingers for me”, he joked.

Most also crossed their legs to sit on the floor – initially nodding along in transfixed silence, punctuated by the occasional “Yes!” or “Alright!”, the audience soon became emboldened – shouting out both song requests and bawdy propositions - “I love you! It’s real!”. Despite some obvious discomfort, Ashworth held his own both in regards to the setlist “No, actually, I think Bobby Malone sounds really good at about the 45 minute mark” and repeated requests for a date, brandishing his wedding ring and saying “No thanks, I’m married”, wryly adding “…to a woman”.

An eclectic set, comprised mostly of requests shouted out by the all-ages audience, included Etiquette hits ‘New Year’s Kiss’, ‘Young Shields’, ‘I Love Creedence’, ‘Cold White Christmas’ and ‘Bobby Malone Moves Home’, Vs. Children’s ‘Harsh the Herald Angels Sing’, and Answering Machine Music’s ‘Rice Dream Girl’.

While technically sparse, Ashworth’s music resonated with emotional depth, which was particularly impressive given his own lack of a dynamic stage presence. Where some musicians love to rev up a crowd, basking in adoration, Ashworth seems content to let the music speak for itself. I have attended few shows with moments as purely affecting as Ashworth’s rendition of ‘Killers’ – the song retains a tension that isn’t out of place in the dark character studies that populate his music. The looping drum machine, synths and bare keyboard chords created an atmosphere so (dare I say it) painfully isolated that to applaud at the end surely seems sacrilegious in a roomful of strangers.

Similarly, the usually upbeat ‘Holly Hobby’ got a stripping down for the ‘Bobby version’, originally penned for a friend’s 60s-style girl-group that never eventuated. Ashworth uses his voice to his full advantage here, with the drawn-out vox so thin and whispery the vocalist could well be close to tears; proving that sometimes, less is more.

The Girl With Violent Arms

Kids and Animals

Baby Panda

You can view additional photos here, and my Back Beat Seattle review of Vs. Children here.

If I were to organize a music festival with my favourite bands I saw this year, it would look something like this:

2009-12-29T21:57:00.000-08:00

I can't wait to see what bands are touring next year!

Silent Night? Not here!

2009-12-20T22:16:00.000-08:00

Christmas is coming up and I thought I'd put together a mix to share with my friends who I'm not going to be able to spend time with this year. I've received some really sweet cards and packages (and a Jarvis Cocker ticket!) over the last week or so, and have sent out some of my own but I thought it would be fun to share some music, too. While I'm not one for traditional Christmas carols there are a lot of really great holiday tracks out there by alternative artists - some of which I'll be playing no matter what the season!

Julian Casablancas - I Wish It Was Christmas Today
Manic Street Preachers - Ghost Of Christmas
The Flaming Lips - Christmas at the Zoo
Stars - What The Snowman Learned About Love (Montag Remix)
Zee Avi - No Christmas For Me
Belle and Sebastian - O Come, O Come, Emmanuel
Rilo Kiley - Xmas Cake
Neko Case - Christmas Card from a Hooker in Minneapolis
Bright Eyes - Have Yourself A Merry Little Christmas
Travis - River
Casiotone For the Painfully Alone - Cold White Christmas
Death Cab For Cutie - Christmas (Baby Please Come Home)
The Walkmen - The Christmas Party
Iron & Wine - Faded from the Winter
Lou Barlow - Mary
Shearwater - The Snow Leopard
Vampire Weekend - Horchata
Yeah Yeah Yeahs - All I Want for Christmas
The Ramones - Merry Christmas (I Don't Want To Fight Tonight)
The Breeders - New Year
They Might Be Giants - Santa's Beard
Eels - Everything's Gonna Be Cool This Christmas
Me First and the Gimme Gimmes - Hava Nagila (Christmas Arrangement)

You can download the mix here - just click on the "download this folder" button and play in your media player of choice. Merry Christmas, you guys.

What's in a name?

2009-12-19T22:20:00.000-08:00

The last couple of weeks have been a little messy for organizing gigs, and thus I think that Japandroids is likely my last gig for the year. I already have some gigs lined up for 2010 though, starting with Casiotone for the Painfully Alone, and I'm pretty optimistic about what opportunities the new year will bring.

This isn't a "best of" or wrap-up post though; it's Saturday night and I thought I'd indulge in something a little silly. I've often thought about doing a study tracking the trends of popular band names throughout the decades, ranging from "The bands" (Beatles, Beach Boys, Mamas & The Papas, Monkees, Smiths) to "Single word British band names" (Blur, Oasis, Travis, Elastica, Muse, Supergrass, Ash, Pulp), "Updated 'The bands' " (Datsuns, Killers, Hives), "Animal names" (Grizzly Bear, Minus the Bear, Teenwolf, Animal Collective) and everything in between. I don't know if there is even any sort of pattern but I thought I would have a giggle and try and think of as many light-hearted modern band names as I could. Here we go!

...And You Will Know Us By the Trail of the Dead
!!!
And All Because the Lady Loves
Be Your Own Pet
Breathe Owl Breathe
Casiotone for the Painfully Alone
Cotton Jones Basket Ride
Cute is What We Aim For
Cut Off Your Hands
Death Cab for Cutie
Does It Offend You, Yeah?
Do Make Say Think
Eagles of Death Metal
Flowers From the Man Who Shot Your Cousin
Fuck Buttons
Giraffes? Giraffes!
Godspeed You! Black Emperor
Half Man Half Biscuit
I Can Make a Mess Like Nobody's Business
If These Trees Could Talk
I Set My Friends on Fire
I Would Set Myself on Fire For You
Jimmy Eat World
Kind of Like Spitting
The Legendary Pink Dots
Oh No! Oh My!
Neutral Milk Hotel
The Pains of Being Pure at Heart
The Phenomenal Handclap Band
Pocahaunted
Say Hi To Your Mom
Someone Still Loves You Boris Yeltsin
Volcano, I'm Still Excited!
We Were Promised Jetpacks
We All Have Hooks for Hands
You Say Party! We Say Die!

What gems have I missed?

Japandroids

2009-12-10T00:55:00.001-08:00

Rising indie stars Japandroids played to an enthusiastic crowd at Seattle’s Chop Suey, Wednesday 2 December. The duo were finishing up their US tour to promote their album Post-Nothing, which featured such songs as “Rockers East Vancouver”, and the aptly-named “The Boys are Leaving Town”.

The gig started with a couple of technical difficulties, with guitarist Brian King saying “I’ve got no more guitar left…this thing’s on fuckin’ ten…what am I supposed to do?”

The answer from the crowd? “Eleven!”

Percussionist Brian Prowse made it his mission to unite the all-ages crowd, saying “It’s a sad thing to see people parted like this. It doesn’t seem right to me”. Not needing much urging, the lounge-lizards soon rushed to the front in a rush of fun and mosh-pit excitement.

Brian and David admitted to the rather ambitious plans of going home to start recording some limited-release material. I look forward to the results!

You can view more photos here.

Passion Pit

2009-12-10T00:49:00.000-08:00

I was hoping to shoot Passion Pit when they played the Moore Theatre this evening, but due to a PR glitch, it didn't work out. Hope everyone who went had a great time; the rest of us will just have to make do with awesome videos such as this one.

A belated Thanksgiving post

2009-12-02T19:22:00.001-08:00

This has been a pretty big year for me, so I thought I'd take some time out to share some of the music/journalism things I am grateful for.

My current editor, who organizes tickets/photo passes for me and never fails to be encouraging and helpful
Editors who respond to query letters, whether my work ends up as a cover story or floating around in the slush pile
A partner who will accompany me to gigs, even if they're not quite his cup of tea and it means he has to spend hours on the road
Friends and family who encourage me in what I do - whether that means lending me their car, proofreading something before I submit it, or just taking time to look at my little blog. You know who you are
That music is a universal, uniting force; and I get to see and hear so many talented musicians express themselves through their craft

Yessir, I reckon I'm a pretty lucky kid. What are some of the things you are thankful for?

Something a little different

2009-11-27T21:17:00.000-08:00

A couple of weeks ago I was walking to work when I passed a group of people huddled on the footpath - somewhat of an oddity as Port Angeles is not really a hub for buskers nor the homeless. Upon closer inspection, it was revealed that those braving the elements were queuing up to reserve their place at the premiere of New Moon, the second in Stephanie Meyer's Twilight series that has brought so many visitors to the Olympic Peninsula.

I talked to a few people who were set on camping out - some up to three days, including during a storm that featured gusts of 30mph resulting in loss of power to 17,000 homes in the area. Fans had travelled from around the country including Massachussets, Colorado, Oregon and California, and for all the wet weather the community really came together in ensuring that everyone was safe, reasonably warm, and well fed. It was really great talking to everyone who came out - hope everyone enjoyed the film!

Some of my favourite pictures are below:

You can view the rest of the photos here. I am in the last negotiations with a small publication on this story so will post a fuller update once I have confirmed details with them.

They Must Be Giants

2009-11-15T01:08:00.001-08:00

It was with great pleasure that I was able to see legendary geek-rockers They Might Be Giants at their 10.11.09. concert at the Showbox SoDo. The show was a special treat for many in that the band were playing their third album Flood in it's entirety. Rarely have I seen a crowd so keenly anticipating a performance, and I've never before been in a crowd chanting "Your Racist Frrrriend!".

The set boasted an impressive amount of equipment, including two saxophones, drums, a clarinet, a piano-accordion, and most intriguing of all, a towering mass consisting of a second drum kit fitted on a platform, flanked by electric guitars. The Giants approach their music with a playful versatility, best summarized by John when recalling recording a song after buying a new mixer - "At the beginning of the song you can hear the sound of me smashing every item in my apartment with a mallet". Band members also used large bass drums, a set of three service-desk bells mounted atop a 2 x 4 and a tremendous amount of energy in a song that culminated with a grown man rolling around the floor performing a sax solo. This is an ensemble that truly embraces the absurd, making for a joyous performance!

It was my first time at the Showbox SoDo, which is essentially an empty warehouse with a stage installed at the front end of the building, and a few tables set up for merch and a bar down the side. John and John found the venue an inspiration, quipping "Is it technically a floor if it's concrete?", and "This is actually a giant file-sharing sting operation! SECURITY!".

The two Johns (Flansburgh and Linnell) kept up what must surely be a well-polished banter, addressing the crowd with a jovial "How the devil is everyone? That's what I thought...yesssss!". They later mused on album success, noting "Flood has just been certified platinum...making it the slowest-selling platinum album in the history of pop. You should all keep buying those copies of Flood. You can't relax now!". It may have taken over two decades to go platinum, but as a band that is still playing to capacity crowds and releasing new albums, I think the Giants have the last laugh.

Personal set highlights included "Istanbul (Not Constantinople)", which was driven by strong vocals, booming drums, and punctuated by a magical shower of confetti half-way through; and "Birdhouse In Your Soul" which featured the charming 'rounds' that have made the band popular with listeners of all ages. Although this was a Flood show, the band switched things up by playing the songs out of order, and taking 'breaks' to play non-Flood material, such as "Why Does the Sun Shine? (The Sun Is A Mass Of Incandescent Gas)", and then following it up with "Why does the Sun Really Shine? (The Sun Is A Miasma of Incandescent Plasma)" in an attempt to atone for "feeding children false information".

Though clearly popular, the Giants were still not exempt from a little performance anxiety; wondering what it must be like for fans who had not seen them perform before - "I read the book and then I finally went and saw the movie...except in my head there was a craggy mountainscape and mountain goats...CGI...". The concert experience may have been a little like this for one inebriated couple who were ejected from the venue early on as a result of their roughhousing - but rather than kick up a fuss or simply go home, the couple braved the weather to spend the majority of the concert outside the SoDo's doors, dancing together in the rain and enjoying the great music in any way that they could. Their exuberance paid off when the staff let the couple back inside an hour or so later, hopefully having learned their lesson.

The Giants' demographic is an interesting one - though the 21+ audience was a sea of moshing, blue pabst-waving hipsters and rockers sporting tattoos, bald spots and horn-rimmed glasses; I couldn't help but wonder how many in the audience would later go home and play Giants music for their children the next day. The broad appeal lies in many things - use of puns and wordplay, the jingle-like length of the songs, and the immense imagination in all of their works.

All in all an excellent night out - I can't wait to see what TMBG get up to in the future! Check out the rest of the photos here.

Friday the 13th

2009-11-15T00:35:00.000-08:00

Port Angeles metal group Dying to Bleed organized an all-ages show to celebrate Friday the 13th and inject some high-energy rock into an otherwise quiet night. Supported by Seattle's Drown Mary, as well as local bands Mad Hatter and Jack Havoc, the boys put on a great show to an enthusiastic audience. I particularly enjoyed seeing youth really engaging with the music, moshing, and letting out some of their pent-up energy in a safe environment; especially as there aren't a lot of places in town that offer night-time entertainment. Hopefully there will be more local shows in the future - I can safely say that they are in demand!

Here are some of my favourite shots from the show:

You can see more photos here.

Minuit debut 'Aotearoa' music video...starring me!

2009-11-03T20:27:00.000-08:00

The onset of a bitter Washington winter has made me a little homesick lately, so it was lovely to see the new video by Minuit [min-wee], from their latest album Find Me Before I Die A Lonely Death.com. Titled 'Aotearoa', the third single to be released explores themes of cultural identity and what it means to be a New Zealander, and the band called upon kiwis to submit photos of themselves for use in the accompanying video. “A lot of people make this place that we live in, and we're not all the same; we have different names, different faces, different needs, different places,” says Minuit’s Paul Dodge. “But love it or hate it - this is us. And we want you to say ‘this is me!’"

The video also features archival footage and photographs of prominent moments in New Zealand history, and really brings home the chorus; "You and me, we are a New Zealand". Having followed Minuit's progress over the last seven or eight years, I was delighted to be included in the video - I love this band and can't wait to see them in concert again (I last saw them supporting The Chemical Brothers on my 24th birthday). While watching the clip, I was touched not just by the footage of familiar haunts, but also by the friends I spotted in between frames - some I knew had submitted a picture, others were a pleasant surprise! We've had some choice times over the years (Minuit gigs included), and this video was timely in reminding me of our adventures together. I miss you guys and it's awesome that we can share this in spite of the waters that separate us.

“At first I really bucked against wanting to sing 'New Zealand' in a song,” says Ruth (Carr). “I felt like it was kind of lame, or cheesy, or embarrassing on some level, but then I thought of the hundreds of songs in the world with other countries and street names or landmarks in them, and I thought – I live here, I'm allowed to sing about it. This is us. We are a new New Zealand if we want to be, it's our choice how we want this to go. Here is the song. It's called Aotearoa.”

In print

2009-11-02T15:29:00.000-08:00

I was recently thinking about some of the music magazines/websites that I read regularly, so I thought I would post here about a few of the great websites/periodicals that are out there. I started off with a list of about twenty different blogs and magazines that ranged from covering local events to international publications, so I just picked a few favourites to gloss over here.

I am always on the lookout for new things to read, so please recommend your favourite news sources, photo galleries and websites in the comments - I'd love to see what else is out there.

NME - I suppose the NME could be thought of as Spin's sister-magazine - substantial but not bulky, aimed at mainstream music lovers, but sneaking in some obscure reviews when no one is looking. I was brought up on Britpop so I love that NME provides a steady, up-to-date stream of news on some of my favourite artists, and it's always an entertaining read. I do feel as if there is something missing in their format, but the NME presents a great starting-point for exploring new artists.

The Stranger - As a newspaper, The Stranger has its charms - it's free, topical, and takes a no-holds-barred approach to deliver journalism that has made it an influential publication in the alternative press. However, the heavy rotation of left-wing propaganda crammed into every issue printed eventually makes for a tiring read, regardless of how much I may agree with it. The Stranger is a publication that celebrates youth culture, but its pages are also prone to a vulgarity and brazen attitude that discredits its position as "Seattle's Only Newspaper", and the music section is limited largely to page upon page of advertisements. This is where the website steps in - serving as a gig guide, hosting a plethora of blogs and forums, and providing insight into the ups and downs of city life. Cafe culture, late-night encounters, and local gigs are all subject to the debate of The Stranger's motley crew of contributors, who range from the brash and entitled to the almost shockingly earnest and well-written. The Stranger is a controversial read, but one that carries many readers.

Q - Q is probably my favourite music magazine of all time - from it's glossy, weighted cover, to the Cash For Questions column that is still going strong and rewarding reader input. The magazine is large enough that it can balance old hands like Coldplay with giving upcoming bands much-needed exposure as well, and include pages of extensive reviews, re-releases, gig photos and columns in between. Q usually houses articles that are written with an intelligent eye and interesting angles, accompanied by pages of great photos. The website has some nice interactive features, but content does tend to get buried quickly - perhaps a cleaner layout is in order.

The Quietus - The Quietus is a fascinating, engaging music website and one I recommend to everyone. Boasting an unassuming and clean design, the site is easy to navigate and doesn't feel the need to advertise itself via Twitter, Facebook, daily MP3s, recommended videos - The Quietus is what it is, and the content is worth bookmarking the website or simply remembering the url without having it forced upon you. A somewhat more analytical view than is offered by the standard rag, TQ features articles that tell the stories of people's lives through their love of music. Whether it is a journey of mental illness, immigration, or relationships, The Quietus reminds us of why music is such an important force in our lives - not because of a glossy interview, but in the feelings and detail that we listeners experience when we put on a record or don our white earbuds. The site is also home to album reviews, show announcements, and interviews, which keeps things balanced and broadens its appeal.

Under the Radar - Under the Radar is one of my favourite music magazines - they print but five slim issues a year, but manage to make every dot-per-inch count. I have a copy of UtR in my handbag, and paradoxically this indie magazine always has some of the alt/indie scene's most innovative stars gracing their covers, at varying steps of their dance with the mainstream. "The Protest Issue" of 2008 was engaging, timely, and carried a poignant message its readers could identify with - a consistent feature of the magazine. The download code that allows readers to download a "free CD" every month is a nice touch - many a time I've sifted through the bargain bin of my favourite record shop in NZ and seen countless piles of CDs from back copies of Q and NME that the shop couldn't sell - this is an eco-friendly and tech-savvy way to maintain this hook.

Liam Finn & Eliza-Jane, 25.10.09.

2009-11-02T15:08:00.000-08:00

Liam Finn and Eliza-Jane Barnes played a fantastic set at the end of October, at Seattle's iconic venue The Crocodile. It was a cold and drizzly Sunday night, at the time of year when it may seem more tempting to have a night in with a fluffy blanket and a good movie, but a good-sized contingent turned out to make some noise. I was particularly looking forward to some live music from back home - I had last seen Finn play as part of Seven World Collide in January, and was interested to see how things had evolved since then. The crowd warmed to opening act Jason Lytle; known for his work with Granddaddy and an accomplished artist in his own right.

The Aussie pair made for a humourous duo; whose antics included going to great lengths to imbibe while observing The Crocodile's "No drinks onstage" rule, light-hearted innuendo, and bandying about of some common Maori phrases such as "Ka pai" (or "very good") and "Arohanui" (or "much love"). The mood was jovial, and the music was both loud and sincere - I really got the impression that these guys fully lived for the road and the stage.

Descendants of Anzac rock royalty (Neil Finn and Jimmy Barnes respectively), it comes as no surprise that Liam and EJ are also tremendously talented musicians. The setlist included material from both Finn's first solo album, 2007's I'll Be Lightning, and the new EP Champagne in Seashells, where he shares the bill with Eliza-Jane. Both of these releases are excellent, but the studio recordings really do no justice to their amazing energy, stage presence, and innovative use of looping, drum machines, and rolling around the stage in true rock-n-roll fashion. "Second Chance" is always blistering live, and this was no exception - it really is hard to believe that this much noise can be created by just two people. "Plane Crash" and "Long Way To Go" were welcome inclusions from the new EP, and a testament to how well the pair work together.

The pair made an appearance on the Letterman show last year (although I noted he didn't even say EJ's name when he was standing right next to her - harsh!), and have been supporting Wilco on tour in the last couple of months. They are a staple of the NZ/Australian alt. music scene and it was really great to see an American crowd really get into their music - they are a duo to keep an eye on.

You can view more photos here.

Snow Patrol at Paramount Theatre, 14/10/09

2009-10-17T21:55:00.000-07:00

Wednesday night afforded me the pleasure of shooting Snow Patrol's concert at the Paramount Theatre; a landmark venue that has housed artists such as The Guess Who, Kiss, Frank Sinatra, Madonna and Nirvana. It was a little touch-and-go as to whether I was on the door of the concert, but it turned out that I had not one but two free tickets, and the tour manager came out in person to issue me my photopass, which was very nice of him. I am finding that things can be a little last-minute in this business, but that they usually fall into place very nicely - all of the venue staff that I've worked with so far have been lovely, and in this case I was told I could shoot from anywhere in the venue, which gave me a few different options. Some of my favourite photos from the night are below - click images to enlarge.

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Illinois pop sensations Plain White T's opened with a short but sweet setlist to an enthusiastic audience, including two girls brandishing glowsticks, one sporting a handmade "I Love Tom!” t-shirt. Their dedication paid off when lead singer Tom Higgenson spotted the pair and announced “I’m dedicating this song to that girl!” before continuing the set.

Tom Higgenson

Dave Tirio

De'Mar Hamilton

Setlist:

Let Me Take You There

Big Bad World

1 2 3 4

Sunlight

Write You A Song

Boomerang

Hey There Delilah

Someday

Snow Patrol came out in full force - with two drum kits, two guitarists and a bass to their name, they took full advantage of the acoustics of The Paramount. It truly was a feel-good set, with many swaying couples dotted in amongst the rockers in attendance. Fans of all ages braved the cold to pack both the floor and the upper levels of the much-loved establishment, with rockin' results.

Frontman Gary Lightbody kept things real as a fountain of comic relief during the set. Urging the audience to sing along to the epic 'Shut Your Eyes', Lightbody approached the audience, mic in hand and asked impishly, "Can everybody just say 'Yes!' very loudly? Ooh...that was satisfying...it's lucky there's a guitar here". To those hesitant to sing along, Lightbody chided "This isn't a fucking exam...you left your house to have fun!". The singer also made reference to a mishap the previous evening in Portland where he had fallen over an amp, faceplanting into the audience. "I bet it's on YouTube", our hero lamented - you bet it is, Gary.

Lightbody also paid homage to Seattle, saying "This city is where it all began for Snow Patrol", referring to the inspiration the band drew from Aberdeen icons Nirvana, and perhaps also the success they enjoyed due to a certain fictional hospital. Such kudos was timely considering that just a few blocks away the first annual Seattle City of Music Awards was being held, cementing the dedication that this city takes in showcasing world class musical talent to its residents.

The concert did feel like a "best of" session at times - big hits 'Chasing Cars', 'Run', 'Chocolate', 'Spitting Games', 'You Could Be Happy' and 'Take Back The City' all featured in the setlist, while sadly indie pearls such as 'Starfighter Pilot', 'Never Gonna Fall In Love Again' and 'Days Without Paracetamol' were all absent - perhaps an effort to forget their early commercial failure?

The Irish/Scottish quintet certainly cannot make that complaint now - thanks to featuring on the soundtracks for Bones, Grey's Anatomy, American Pie and Gran Turismo sequels, the rest is history. Snow Patrol are working on their sixth studio album, one of the tracks from which they previewed in Seattle - it and 'The Lightning Strike' were among their more adventurous offerings. Lightbody predicts a "mixed reaction" to the new album, and I say bring it on - the boys would do well to shake things up and venture into uncharted territory. However the new album turns out, the band can take solace in Lightbody's words as he was met with a sea of happy listeners: "Look at all those smiling faces now. What a beautiful thing".

You can see more photos of Plain White T's here and Snow Patrol here.

Concert Previews!

2009-10-11T01:09:00.000-07:00

Next week I will be attending Snow Patrol at The Paramount Theater - I've never been to this venue so I'm looking forward to stepping through its historic doors. I reviewed One Hundred Million Suns last year and gave it a steady 3/5 stars - it will be interesting to see what the boys have up their sleeves for this show. I have seen them play in Auckland before and I know they can put on a great gig. Here's hoping they play 'Days Without Paracetamol'; Songs for Polar Bears is one of my favourite albums.

I'm not sure if I will make it to this one, but J-pop punk girls Shonen Knife are playing the Tractor Tavern October 24th. They've been around for years, toured with Nirvana, and put out countless albums - but they still manage to sound youthful, charming and fresh. I'm really lucky in that there are so many diverse concerts taking place here that I'd like to attend - I'll be happy if I get to see but a fraction of them.

Liam Finn is playing The Crocodile October 25th, and I can't wait! I last saw/photographed Liam when he was playing with the likes of Ed O'Brien, Jeff Tweedy and Johnny Marr as part of the Seven Worlds Collide concerts in January of this year. Since then he and his bandmate Eliza Jane have released a great EP called Champagne in Seashells, which I highly recommend listening to - his music is reminiscent of Elliott Smith/Death Cab for Cutie, but in a slightly gruntier, less melancholy way.

Battle for Seattle

2009-10-03T23:02:00.001-07:00

When I first received an email about this event, I was somewhat flabberghasted - who is Mike McGinn, and who exactly does he expect to pay $200 - $300 per head to see the Presidents of the United States of America? I was amused to hear that The Maldives and Krist Novoselic were also on the bill - although harbouring an activist streak, this sort of event is miles away from when Krist played The Crocodile in his grungier days.

As it turns out, McGinn considers "Music and Nightlife" a core issue of his campaign, along with "Internet Infrastructure" and "Green Jobs". If you are eligible to vote, I suggest you familiarize yourself with the various candidates, and then get out there and vote!

Here is Mike McGinn's stance on Seattle Music and Nightlife, as published on his website:

Seattle’s music scene is already nationally recognized and admired, and our many bars, nightclubs, and performers are essential revenue sources for the city. But it can be even better if the city helps continue its growth by encouraging it as we do other industries.

In 2008 alone, the music industry in Seattle directly created over 11,000 jobs, with more than 2,000 businesses generating $1.2 billion in annual sales, as well as $487 million in earnings. The industry also generated $90 million in state and local sales and B&O taxes.

Beyond revenue, our music scene also creates vibrant and active neighborhoods, with customers from bars and clubs patronizing other local businesses throughout the day and night.

Nightclubs, bars, pubs, and other music venues — along with Seattle’s many bands, DJs, and entertainers — deserve a safe and supportive environment to earn their living. Similarly, residents living near music venues have the right to enjoy their homes in safety and peace.

I believe that reasonable people can work together to develop rules governing nightlife and nearby development — rules that keep Seattle’s music scene thriving.

Public Safety
• In order to help ensure safety and peace around bars and clubs, late-night patrols should be increased in “hotspot” neighborhoods.
• To help cut down on incidents after establishments close, the city should work with the state Liquor Control Board to encourage staggered closing times.
• To help cut down on drinking and driving, transportation choices such as light rail, taxi service, and buses need to be accessible until at least 3 a.m.

Nightlife & Development
• New residential development must not be able to drive out existing nightlife establishments
• Any new development within the proximity of an existing bar or club should be required to build sound-proofing measures into their plans.
• To maintain an open dialogue between the nightlife community and the city, the Seattle Music & Nightlife Association should have quarterly meetings with the mayor.

Encouraging Music and Other Art
• The Seattle Office of Film + Music must remain open and active.
• In order to help maintain an environment where Seattle’s music scene can continue to thrive, the Seattle City of Music Initiative must remain in place and will be improved upon through work with the Seattle Music Commission.
• To further encourage the arts, the next Families and Education Levy should include funding for music and art programs in Seattle public schools.

Where the Wild Things Are

2009-10-01T20:07:00.001-07:00

I've never really been one to get excited about movie soundtracks, but my curiosity got the better of me when it came to the upcoming film adaptation of Maurice Sendak's Where the Wild Things Are. I was surprised and intrigued to hear that not only did the film boast Spike Jonze and Dave Eggers as its screenwriters, Karen O of the Yeah Yeah Yeahs was at the helm producing the soundtrack.

Think about it for a minute - Karen "Flesh ripped out/I took him standing up" O providing the music for a children's film? While a risque move, it also makes a perverse sort of sense. As O recently explained to Paste magazine, "I’m in Spike’s big-kid club. Most of the creative people that Spike works with are children trapped in grownup’s bodies".

The soundtrack proves to be a grand departure for the glitzy punk siren, who delivers 14 ethereal tracks with some help from "The Kids" - YYYs cohorts Brian Chase and Nick Zinner along with Deerhunter's Bradford Cox, Dean Fertita of Queens of the Stone Age/The Raconteurs, Imaad Wasif of New Folk Implosion and a host of others canvassing the alt music spectrum. Add to the mix some actual kids in the form of a children's choir in the rough, and you've got an intriguing musical menagerie just waiting to explode.

What unfolds is a stand-alone album that shows that O can push her boundaries and produce something that is endearing, a little dark, and definitely family friendly. The sounds are lo-fi, bare guitar chords cascading into something bigger with the help of xylophone shimmers, childlike humming, and the roaring efforts of the bouyant brigade O has at her disposal. Haunting melodies abound in a soundtrack that proves atmospheric but not overwhelming - there is no contest to King Max's crown here.

While it's rare that an entire film score is entrusted to one set of vocals, Jonze's decision pays off in full. O's voice is undeniably her own - 'Capsize' could work very well as a YYY track with it's grunty guitar riff, while quieter tracks such as 'Worried Shoes' and 'Hideaway' showcase her oft-forgotten vulnerability. Whether or not you are anticipating this film's release, I urge you to pick up a copy of the soundtrack - you will probably find that the songs within filter up your playlist unexpectedly; resonating with much more impact than mere child's play.

Manic Street Preachers 09/21/09

2009-09-23T12:55:00.000-07:00

It was with much excitement that I attended the Manic Street Preachers gig at Neumos on Monday night. They were scheduled to play the Big Day Out in NZ ten years ago, but pulled out at the last minute due to scheduling conflicts. Coincidentally this was also the first stop on their first tour of the US in ten years, so it was a small but excited crowd that gathered outside the venue. I later learned that Pearl Jam were playing the same evening, which may have explained why the audience was sparse, but what the crowd lacked in size they more than made up for in exuberance and loyalty. Fans sported Manics t-shirts spanning their entire nine-album catalogue, and I spoke to several audience members who told me that they were making the trip to the Vancouver show the next day. One girl wore a homemade "James Dean Bradfield is my Guitar Hero" t-shirt and boasted she had flown all the way from Montana to catch the gig; others had flown from Los Angeles and Texas.

Hard rockers Nico Vega gave a dynamic opening set, producing what sounded much heavier than their one guitarist and drummer could provide. Lead vocalist Aja Volkman was a bundle of energy, writhing around the stage with a palpable and demanding stage presence.

The boys from Wales did not disappoint, playing a blistering set that kicked off with 'Motorcycle Emptiness' before launching into the anthemic 'No Surface, All Feeling'. On tour to promote their latest album, Journal for Plague Lovers, the set featured many new songs that were composed using lyrics from late guitarist/lyricist Richey Edwards' journals after he had legally been declared dead late last year. A somber Nicky Wire asked, "I don't think Richey ever made it to Seattle, did he?"

New songs such as 'Jackie Collins Existential Question Time' had the crowd singing tongue-in-cheek lyrics such as "Oh mummy, what's a sex pistol?", while old favourites such as the epic 'Faster' proved that Bradfield hasn't lost any of his spark over the years; whipping the crowd into a roaring frenzy.

Wire was larger-than-life in his trademark lab coat, his sequinned eyes glinting merrily as he jumped around his feather-boa engulfed micstand. Bradfield opted for a slightly more conservative look, but one doubts the military regalia will ever be fully absent from his wardrobe. Drummer Sean Moore was almost entirely obscured by his drum kit, and I suspect he likes to keep it that way; letting Bradfield strut around his mic stand in a series of jumps and pivots that come to a stop only in time for a bridge or guitar solo.

Far from a one-trick pony, Bradfield traded guitars to give an intimate solo acoustic performance of 'Small Black Flowers That Grow In The Sky' and 'This Is Yesterday', his earnest vocals joined by a reverent audience.

Set highlights included 'If You Tolerate This Then Your Children Will Be Next', and jaunty b-side 'Take the Skinheads Bowling' (you may recognize Teenage Fanclub's rendition of the tune on the 'Bowling For Columbine' soundtrack). I had to leave slightly early to catch the last ferry home, so missed closing number 'A Design for Life' - I imagine it was majestic.

You can see more photos from the gig via my flickr, and keep an eye out for more updates via Backbeat Seattle. For those of you who will be attending other concerts during the rest of the US tour, I guarantee that you will have a great time.

Setlist:

Motorcycle Emptiness
No Surface All Feeling
Peeled Apples
Your Love Alone Is Not Enough
La Tristessa Durera
Jackie Collins Existential Question Time
Let Robeson Sing
You Love Us
Everything Must Go
Faster
Take The Skinheads Bowling
If You Tolerate This Your Children Will Be Next
Small Black Flowers (acoustic)
This is Yesterday (acoustic)
Send Away The Tigers
You Stole The Sun From My Heart
‘All or Nothing’ into Motown Junk
Me And Stephen Hawking
Little Baby Nothing
This Joke Sport Severed
A Design For Life

Check check check check check

2009-09-18T16:50:00.000-07:00

A lot of very big things have developed or found their home in Washington state - Microsoft, Starbucks, Boeing and the unshakable Twilight phenomenon, to name a few. Culture-changing innovators are scattered throughout the local music industry as well - just listen to the works of Jimi Hendrix, Modest Mouse, Death Cab for Cutie or Pearl Jam. I find I am in a place of great historical importance to modern rock; the birthplace of both the grunge and riot grrrl movements. It's quite awing; and I wonder if I will find myself in an audience bearing witness to the next big thing.

One thing I would like to develop over the next few months is a series of posts dedicated to exploring sites related to Kurt Cobain and Nirvana. By no means am I endeavouring to rewrite the many books and documentaries devoted to one of the world's most missed musicians - I suspect my voice will fall somewhere between curator and tourist. I do not anticipate this being a short or painless journey, but at the end of it I hope to better understand the significance of a major cultural icon; having bore witness to some of the historical sites of the musical world.

The Kurt Cobain Memorial Foundation is hosting "Lounge Acts 2009" - a fundraiser to build a youth centre in honour of Kurt. Former Nirvana drummer Chad Channing will be headlining the event with his group "Candlebox". It's possible this could be my first stop on my pilgrimage to Nirvana; an interesting event for a worthy cause.

=w=

2009-09-16T23:08:00.001-07:00

image by Jason Neely

The above image is the newly released cover for Weezer's upcoming album, Raditude, and sums up my Endfest 18 experience pretty accurately. If you picture Rick Moranis leading his best pals (high school's most shunned social outcasts) from gym class to rock and roll glory, that's pretty close to how the band come across live.

The Weez have forged an outstanding career out of being uncool - from picking Rivers' childhood moniker as the name of the band, to taking barbershop lessons together. Weezer have an earnestness about them that is as effective as it is unapologetic - just think of the videos for Buddy Holly, Island in The Sun and Keep Fishin'.

I had been waiting to see the band for roughly a decade (I was just 9 at the time of their only NZ show), so this was definitely an exciting concert for me. Unfortunately neither my guest tickets nor the tickets I had already bought were GA, so there was an immense sea of other fans between myself and the stage - luckily White River Amphitheater has a pretty good projection system.

Kicking off with the grunty anthem "Hash Pipe", the band emerges in matching grey sweatshirts and trousers - somehow the perfect ensemble for rocking out. What Cuomo lacks in stature he more than makes up for in energy - springboarding off a mini-trampoline, he encourages the 30,000-strong crowd to sing along - "I can tell you people have been to a rock concert before. That's proper rock concert etiquette. You've schooled me!"

For a lead vocalist who mimes along to his own vocals and gets caught up in over-the-top power-stance-guitar-thrusts, he really just wants everyone to have a good time - and that's the coolest thing of all.

Being an Endfest gig, the setlist was more of a beginner's guide to Weezer than anything else, and relied heavily on tracks from the blue album. I was pleasantly surprised at the inclusion of "Why Bother?" over "El Scorcho", and the powerful vox and thrashing riffs of "Surf Wax America" were a personal highlight. The tracks were solid, but there wasn't a lot in the way of experimentation - although the looping intro for "Island In the Sun" made for a great gag. Hopefully the guys will head back this way soon - I'd love to hear them play some of the more diverse raw gems and dusty nuggets that grace their back catalogue.

Setlist:
War Pigs (Black Sabbath cover)
Hash Pipe
Troublemaker
Undone - The Sweater Song
Surf Wax America
Perfect Situation
(If You're Wondering If I Want You To) I Want You To
Say It Ain't So
My Name is Jonas

Island in the Sun
Why Bother?
Pork and Beans
Beverly Hills
Buddy Holly
Should I Stay or Should I Go (The Clash cover)

The perils of PR

2009-09-10T12:01:00.001-07:00

Today is Endfest 18 - a massive event out at Auburn's White River Amphitheatre. The lineup includes Chester French, Taking Back Sunday, Weezer (Weezerrrr!) and Blink 182, and should make for a fun day out.

I had applied to take photos today, and after speaking to seven (!) different people, was told I should be fine to go ahead. Suffice to say I was a little disappointed to receive a phone call saying that no one on the list had been approved after all - just one "official" staff photographer would be taking shots today. However, the guys at Endfest were pretty good sports about it and gave me a couple of free tickets to the event, as well as promising to "take care of" me better next time. Still looking forward to a great event (Weezerrrrr!), and it really is interesting to see the PR/media industry at work on the ground.

ps - HH wants to know what fans of =w= call themselves. "Weezels?", he asked innocently. If anyone knows, do tell!

Background Noise.

2009-09-10T10:03:00.000-07:00

Where to begin? I've started a blog (that's beatlog, not weblog) because I love music - listening to it, writing about it, photographing it in action. I'm a kiwi who has recently found herself immigrating to the Pacific Northwest - one of the world's prime hotspots for modern rock 'n' roll. So far I've had some exciting opportunities to attend and officially photograph events here that I wouldn't back home - it's a great learning curve for me.

I'm a self-confessed audiophile. In my experience, music has never just been a way to pass the time, or some pleasant distraction from the noise pollution of traffic, cubicle farms, or the inevitable neighbour-mowing-the-lawn-when-you-should-get-to-sleep-in scenario. I have found myself dragging my feet along the pavement in an attempt to be able to listen to "just a few more seconds" of electronica, Britpop, or fledgling indie rock before reaching my destination. I am most at home either leaning on the barrier at a gig, or spending hours rifling through second-hand records in search of my own Holy Grail. Put more simply - music is how I choose to interpret and identify with the world - and I'd like to share my thoughts and experiences and see what others have to say.

In starting this blog I hope to achieve a few modest goals: To engage more fully with what I am listening to, get back into the habit of procuring and pouring over liner notes, and attempt to articulate why the music that I listen to is such an important part of my identity. I am going to expose my eardrums to new sounds - both the newest releases and classics that I haven't yet made time for - and get excited about upcoming gigs.

You can expect to see frequent updates including CD reviews, concert photography, and musings on musos in other media - video games, film, books, etc. I figure that this blog will be an organic work, so I anticipate I will find some features that will "work" more readily than others. I currently contribute to Backbeat Seattle, and you can also see what I'm listening to on last.fm, or browse some of my gig photography via flickr. I'm always looking for new contacts, so feel free to add me!

Let's wax lyrical.

-Nicky