Thirty Hertz Rumble

A bl-g about movies, music and nostalgia by James David Patrick

Category: 30Hz Music (Page 17 of 22)

30Hz Recommended: the Jezabels, Great Lake Swimmers

So my wife and I just had our second daughter this past week. Awesome. Yes. But it also means that any posts I had in the works are going to be a little delayed… also my music reviews for www.spillmagazine.com… and really anything that requires even a moderate amount of focus. So this morning while I take a few hours at a coffee shop to catch up on email, twitter, send out some short story submissions, I’ll make my obligatory 30Hz Recommended post for new music Tuesday. I say obligatory because this past Tuesday brought us some absolutely fantastic albums that deserve your attention.

First up…

The Jezabels, Prisoner

Critics call the Sydney quartet’s music everything from alt-rock to disco-pop. The band refers to themselves, with a hint of self-deprecation, as “intensindie.” However classified, Hayley May brings some infectious swagger, a la  Pat Benatar, to her frontwoman style (particularly on the mid-tempo burner “Endless Summer” and “Long Highway”), and the band borrows a small slice of the Joy Formidable’s symphonic rock. They’re also not afraid to slow the pace to play, with plenty of confidence, some alt-rock power balladry. It might sound like a mishmash of uninhabitable musical genres and regrettable nostalgia but the whole thing comes together to create the best pure “driving record” of 2012. (Driving Record: an album without a clear pinch, containing varied song-styles with constant forward momentum. As in an album that can repeat on long drives without the immediate need to swap out upon conclusion. Previous “driving record” accolades belong to Sliversun Pickups and the aforementioned Joy Formidable). The band has been a relative to-do in Australia for a couple of years. (Pittsburgh folks need to get a ticket to their show with Imagine Dragons next week at Brillobox.) Here’s the band playing a fantastic version of “Hurt Me” at the Annandale Hotel, Sydney in 2009.

[tube]http://www.youtube.com/watch?v=YTf6zufJ1J0&feature=related[/tube]

 

Great Lake Swimmers, New Wild Everywhere

It’s time to jump in with the Great Lake Swimmers. Criminally underappreciated might begin to describe the lack of attention paid to this Canadian (oftentimes) quintet. I’m happy to see some buzz around this new release, but if it’s not on your mp3 player of choice, well, you need to fix that. The Great Lake Swimmers might be the flipside of the Jezabels. They won’t self deprecate and there’s nothing intense about anything they’ve ever done. Compare them favorably to the likes of Will Oldham and Iron & Wine. Earnest folk-rock made for being chill and contemplative. The title track from this new record might be the most raucous I’ve ever seen the Swimmers.  It’s hard for me to believe that they’ve been around long enough to have released five albums (5!). Have they ever made a bad track? I’m not sure I can think of one. Ideal listening conditions: sitting outside, beer in hand, basking in cool evening temperatures and a setting sun. Here is “Quiet Your Mind,” a standout track on this album, backed by an ample string section. Just listen and get lost in the beautiful orchestration. You never knew simple, straightforward folk music could have so much depth.

[tube]http://www.youtube.com/watch?v=rHK21cm_h1A&feature=fvsr[/tube]

Also new and noteworthy this week:

the first full length LP from Of Monsters and Men, My Head is an Animal

[tube]http://www.youtube.com/watch?v=8Dw8qdmT_aY[/tube]

and Lotus Plaza, Spooky Action at a Distance a solo project from Lockett Pundt, guitarist/multi-instrumentalist from Deerhunter.

[tube]http://www.youtube.com/watch?v=Tv35im6ZG4M&feature=related[/tube]

 

 

“$5.00-Random”

Reason #278 to buy vinyl: Rescuing misplaced treasures from a vinyl purgatory

For any open-minded, intrepid collector and music enthusiast, Reason #278 might be the best reason of all to support vinyl. The earliest lateral-cut discs (the precursor to vinyl as we know it) had been produced nearly a century before compact discs stomped all over its turf like Godzilla over Tokyo; therefore, it’s no surprise that the breadth and variety of available music for the turntable knows no equal.

Wander any decent second-hand record store and you’ll be treated to unorthodox genres long since forgotten. At some point in our consumer past, sellers/distributors shoehorned all genres into a select few. Rock/Pop. Jazz. Country. Classical. Rap/Hip-Hop. Am I missing any? Shop vinyl and you’ll find genres like Hawaiian. Banjo. Soul. Rockabilly. I am always compelled to linger over these genres even though my knowledge of the artists contained within could be found lacking. I want to pick one at random, just to give it a listen. If nothing else, experiments like these provide great fodder for the bl-g. But the number of potential targets overwhelms and ultimately I move on to more familiar pastures. Next time I’ll come armed with a Google search and a list of obscure artists in obscure genres and do some exploration. After all, $2 per adventure seems pretty damn cheap these days.

I am much more comfortable making decisions at the intersection of the familiar and random. And it turns out that the best place to discover the intersection of familiar and random is at shops that are not just music purveyors. Half-Price Books, for example. While they have vinyl, they are predominantly a seller of other used media. The vinyl that winds up in the wooden crates at Half-Price is generally of the omnipresent variety: Tom Jones, Roger Whitaker, Anne Murray, Kenny Rogers, Barbara Streisand, Huey Lewis, Kenny Loggins, Chicago and so on and so forth. These stores are a dumping ground for entire collections that no longer have value to their owners. Many are inherited. Some are just unwanted, replaced by space-saving digital media. But when people dump collections indiscriminately, collectors are often rewarded for taking the time to dig a little deeper.

Toddler Fodder

Last week I brought my daughter into Half-Price to do a little browsing. On this occasion she’d been the one that had asked to go to the “record store.” And who am I to disagree? I’m so proud of her—the “record store” resides right next door to Toys R Us and she never thinks twice about her decision. I’ve been through the crates at this particular Half-Price enough to know that I’ve pretty much picked out anything that would have interested me. My daughter sits down at my feet and re-sorts the 45s. And by “re-sorts” I mean she finds one with a spacious paper sleeve and crams as many as she can fit into that sleeve. These records are generally in such bad condition (read: unplayable) that I don’t monitor her too closely. If I notice she’s getting a little too aggressive I pick her up and ask for her help flipping through the 33s. This is for her benefit only. If you’ve ever tried to read a book in a toddler’s hands you’ll know the impossibility of browsing records when they’re similarly in control. It’s not an ideal solution but she’s two years old, almost three—there are no ideal solutions for two year olds and vinyl shopping. This particular day I noticed that she’d gone a little too far with the 45 molestation, reaching a crop of unsullied records that deserved a better fate. I bent down to redirect her attention to the previously mauled items or the Disney Princess card game (she is content to merely dump this on the ground) but as I did so I noticed the boxed sets of vinyl stacked up behind the piles of 45s. They were situated in such a way that from my angle I could not have seen them unless I’d been kneeling on her level. There were some mail order classical music collections from anonymous orchestras but the boxes were curious enough and unusual enough that I felt compelled to pull them out and peruse their innards. As I descended into the abyss behind the 45s, beyond the mail-order classical, I found a couple of boxes much more to my liking.

Inside "5.00-Random"

The first was a generic, blue vinyl folder. The Half-Price sticker labeled the set: “$5.00 – Random.” I unsnapped the cover and flipped through the sleeves. The book had been filled with 7” 33rpm singles of various big bands of the 40s and 50s. Almost all were in great condition. Bing Crosby. Louis Prima. Kay Kyser. The history of this folio intrigued me. Someone had taken exquisite care of these records, most produced between 1945 and 1955, only to have them dumped here. The value isn’t the point however. They could be worthless, everyday coaster-fodder, but it wouldn’t matter. There’s a history here that’s beyond monetary measure. Old records smell like history. They have a weight, an importance—even when they came a dime a dozen at the time of their original distribution. I could take these home and one by one, place them on my turntable and discover something old and potentially meaningful that is again made brand new. People that do not buy vinyl just do not understand this. They don’t take much care in browsing a used CD rack for oddities and curios. Anything that is odd is probably not worth having. And if there is some perceived worth in compact discs, the worth is measured in nostalgia or kitsch but not adventure or discovery. Vinyl shopping is a treasure hunt. Used CD shopping is a force of habit.

Great Jazz Artists Pla the Music of Great Composers

My second discovery wasn’t so much an oddity but a welcome and immediately identified necessity. Though the box appeared worn, somewhat torn and tattered around the edges, the picture of the front screamed “BUY ME”—Nat and Cannonball Adderly beneath the title: Great Jazz Artists Play the Music of Great Composers. So I did. I bought that sucker and the “$5.00—Random” folio. Later, I looked up the label that released the set, Murray Hill, and found that they mostly reissued other catalogues. Sure enough, there on the back of the set:

“…these unsual LPs, drawn from the extensive catalogues of Riverside and its affiliated Jazzland label, bring you a fusing of some of the finest and most interesting examples of both elements. Here are many of the best and best-loved melodies of our greatest songwriters, as interpreted by varied lineups of modern jazz talent…”

Track listing for Great Jazz Artists Play the Music of Great Composers

And some further interweb browsing revealed that the set sells for as much as $50. Again, the potential resale value isn’t important. Interesting… but not important. The find, the search, the discovery, the hope of finding something sacred in a slushpile picked through by hundreds before me. Sacred means something different to everyone. For me, it was looking on the back of Great Jazz Artists to find Cole Porter songs played by the likes of Bill Evans, George Shearing, Wes Montgomery, Cannonball Adderly, Sonny Rollins and Johnny Griffin. Thelonius Monk playing Irving Berlin. Charlie Byrd and Billy Taylor doing Gershwin. These names are sacred to me. And after only one listen through Side 1 of Record 1 I knew I’d found something special. The recordings are clear and the vinyl in excellent condition. I can’t help but imagine this set’s prior owner and their connection to the records. Did they consider it a gem or merely part of the overwhelming burden of their old music collection? Judging by the condition of the box (worn and split along one seam) compared to the condition of the vinyl (superficial scratches, no skips)—I believe it must have been treasured just as I treasure it now. And this thought gives me great pleasure, that I’ve again given this music a good home, having rescued it from a vinyl purgatory. I haven’t yet listened to the entire set—there are 12 glorious discs that must be savored and brought back to life, but all in good time. Listening is only part of the joy. Shopping for vinyl—going, browsing, inspecting—forever offers new opportunities to strike gold, but if you’re not taking the time to search those darker corners of the second-hand stores and flea markets you’re going to find a lot of Anne Murray records but nothing particularly as precious or mysterious as “$5.00—Random.”

 

 

Fanfarlo w/ Gardens & Villas @ Mr. Smalls 3/25

Why isn’t Fanfarlo a bigger deal? They play a brand indie-pop of reminiscent of early Arcade Fire,  Talking Heads with some Beirut-style horns mixed in for good measure. I understand the criticisms leveled at them for being derivative. Sure, we all want something new, something thrilling because it’s never been done before. But at the same time, I’ve got to level with you– it’s all already been done in some form or another. To be overly brief, all art is derivative. Even the first cave paintings were inspired by real life; Death of  a Salesman didn’t just spontaneously appear in the mind of Australopithecus. Why then are some critics so offended by similarly sounding music? Fanfarlo is the first modern band I’ve heard that has really nailed the mid-tempo Talking Heads groove. Most bands sound bored or restrained when dealing with that middling pace, but Fanfarlo legitimately understands what made the Heads such a pleasure.

Replicate

There’s something called the Pleasure Principle. We seek pleasure in order to avoid that which might harm us. It’s in our very nature to feel comfortable with familiar music in the same way we’re going to avoid jumping out of a three-story building, just to see what happens. Fanfarlo won’t be knocking on the pearly Pitchfork gates anytime soon but they’re a tight-sounding quintet that has a lot of fun playing music. So in short: Arcade Fire? Good. Talking Heads? Good. Beirut? Good. Joey Tribiani’s Trifle Logic proves true. Fanfarlo. Good. See below for reference.

[tube]http://www.youtube.com/watch?v=5v_BE6lFE0o[/tube]

I’d love to tell you more about Gardens & Villas live set but quite frankly I missed the entire thing because I had to get my daughter to bed. The my wife is 9-months pregnant and largely incapable of dealing with a highly-energized (nearly three year old) daughter. So it goes. I bought their solid 2011 debut album on vinyl to make peace.

Fronted by the Swedish Simon Balthazar, Fanfarlo started minimal, opening with a personal favorite track and the first song on their latest album Rooms Filled With Light: “Replicate.” Thanks to Youtube user pghmusicreport for uploading video from this show.

[tube]http://www.youtube.com/watch?v=KiKd7Ku_NR0[/tube]

The sparse orchestration of the track allows for a cross-section of the sound. Isolated violin. Keyboard. Bass. A couple of songs in, Simon finally began some chatter and mistakenly suggested it was the band’s first trip to Pittsburgh. He was immediately corrected by Cathy (violin, keyboard, vocals) and his drummer Amos who pointed out someone in the front row who had done some drawings of them at that prior show at the Brillobox. Quick wit, from a drummer. I texted my wife to tell her about the drummer with the quick wit. She didn’t believe me.

The band played tight but chatted loosely. Later in the show Cathy again corrected Simon who had incorrectly pronounced the name of the opening act (Vill-ahs rather than the correct Spanish pronunciation Vee-yas). And they had another good laugh at Simon’s expense. Amos later apologized for taking the last small white Fanfarlo T-shirt from the swag booth. Bassist Justin Finch praised some sing-a-longers (specifically the tall guy in the black hoodie) who knew all the words to their songs and then (without pointing fingers) chided those that sang-a-long but didn’t know the words (“It’s actually quite distracting and you should study up before next show.”) All in good fun. I prattle on about their stage prattle because it’s part and parcel with a band that’s up there having fun with their music even though the actual performance goes pretty strictly by the book. There was very little deviation from the recorded versions of the songs. I wouldn’t expect new-ish bands to do much free-styling.  Simon, however, seemed to cut loose a little bit on “Harold T. Wilkins” — the standout track from their 2009 debut. Video again courtesy of pghmusicreport.

[tube]http://www.youtube.com/watch?v=9_tNMZOoL48[/tube]

So maybe they’re not the most original or the most innovative band. They’re comfort food for the ears and an inherently likeable UK-based quintet that spins carefully orchestrated indie-pop . In these days when a single Pitchfork review can mobilize entire legions of potential fans and bloggers in either direction, it’s a shame that Pitchfork review unfairly labeled Rooms Filled With Light a waste of time. I doubt I have the pull to override even a fraction of the negativity but I’m going to do my best. Listen to Fanfarlo. Support the tour. And learn your lyrics.

 

 

Delta Spirit, Delta Spirit

30Hz Recommended: Delta Spirit

Somehow global domination has alluded Delta Spirit. Today the band released their third record of feel good, kick back with a beer, boozy, whimsical and toe-tapping rock music with an garage-born soul. Early in their career the band got mislabeled with  “root rock” and “Americana” labels. These guys would be just at home on a California beach as they would in a frat house in New England or a bar in Mississippi. Their rock is a universal variety and though I understand everyone’s tastes are different I dare you not to like this band. If you don’t, well, you might be wrong.

This is a fan made video of their new single California:

[tube]http://www.youtube.com/watch?v=vYaTbgkfYQw&feature=related[/tube]

Here’s my favorite track of theirs, played at SXSW 2010:

[tube]http://www.youtube.com/watch?v=jDCDlumroyI[/tube]

 

Three albums in, Delta Spirit hasn’t made a bad record. While this new one takes greater lengths to shed the “Americana” label, it doesn’t lose any of the fun.

Order the deluxe vinyl from the band’s website here and receive a limited edition signed poster. Too bad the super deluxe bundles with the signed piano key and t-shirt are sold out. I’d have been into some more tchotchke swag.

Guster playing with the Colorado Symphony

On March 8th, Guster played with the Colorado Symphony. I really considered buying a ticket to Denver just to see this show. But then I thought about how I’m a responsible parent with a pregnant wife that can’t just jet off to concerts whenever he feels like it and that the last time I flew into Denver a hippie fiddled with a short-wave radio midway through the flight and yada yada yada everyone in my section ended up getting questioned by both Homeland Security and the FBI. True story.

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