Sep 2006
Sparklehorse: Running in Place
28/09/06 21:19
By SAM LADACH-BARK
Their music is a godsend on a rained-out Saturday, or on a shadowy stretch of highway. Not because Sparklehorse's music is depressing but because it is so hauntingly beautiful. The brainchild of Mark Linkous has, since 1998, celebrated four full-length releases. Dreamt For Light Years in the Belly of a Mountain, released on Sept. 26, 2006, marked their first release since 2001's It's a Wonderful Life.
Linkous has brought back his beautifully solemn style with the help of some of today's biggest indie artists.
His staple use of vocal and instrumental distortion returns, most notably on the random deterioration of "Don't Take My Sunshine Away." Mid-song, an electronic building action begins on top of guitar and drums to simulate a sudden radio frequency change, which Linkous has proven partial to in the past, especially on Good Morning Spider. Lyrically his music is as hard to decipher as ever. Ghosts, trees and dreams are frequent themes to which Linkous gives great reverence for reasons and metaphors unknown.
New to Sparklehorse's pallet is the inclusion of Dangermouse's organ and sampler on "Mountains" and "Getting it Wrong." His straightforward organ backbeat on "Getting it Wrong" is catchy, but doesn't do justice to his diverse talents.
Tom Waits makes a barely noticeable piano surfacing on "Morning Hollow." Perhaps the faded, sardonic background melody is meant as a lament for Linkous' greatest musical influence (Waits). He told Harps that he still gets nervous when he talks to Waits despite their work together on It's a Wonderful Life.
Making yet another unexpected manifestation is the echo guitar of Steven Drozd from the Flaming Lips on "See the Light." A serenely plucked guitar sets the tone for this number, with Drozd creating a dreamlike atmosphere for Linkous' languid poetic journey.
The highlights of Dreamt are not few and far between, including the charming Elton John-inspired refrain in "Some Sweet Day" and the edgy (for Sparklehorse) "It's Not So Hard," with its addictive combination of hazy guitar and percussion. The somber and callous lament that is "Knives of Summertime" blends electronic bleeps with wavering guitars, which somehow evoke a barren countryside at dusk. But the erratic ending lands us safely back in front of our computers.
Although a solid album throughout, Dreamt does not show signs of being a breakout success. It follows the same murky patterns fans have come to adore, but little has evolved since 2001. Chasing aspirations to be a record producer with his new label Astralwerks over the past half-decade has stunted the evolution of Linkous' own music. The added album credits also did not make much of an impact on the Sparklehorse design. Speaking as a fan, I rather enjoyed this album. But I doubt it will draw a new crowd their way. It is no better or worse than previous releases, and therein lies the problem.
Grade: C+
To hear Sparklehorse, go here.
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Grandaddy: Back to the Rockin' Chair
23/09/06 21:26
By SAM LADACH-BARK
For artists and musicians without a corporate pocketbook, finding your voice and crowd can be a burdensome process. Major record labels like Virgin, Warner Bros. and Capitol more or less control the major buck in the music industry. They choose who and what we listen to through radio, commercials, movies and other promotions. One-hit wonders come and go, but oftentimes the most mind-opening sounds are found just under the radar. That is why this space is dedicated to the best, no-press musicians of our time, and their untold stories.
This week's underappreciated band is a group that has walked the indie rock "line" since early 1992. In Modesto, Calif., singer/keyboardist/songwriter Jason Lytle, bassist Kevin Garcia and drummer Aaron Burch collaborated to form Grandaddy in 1992. Three years later, guitarist Jim Fairchild and keyboardist Tim Dryden rounded out the group. Themes of nature, robots and man's technologic dependency are found on their lyrical palate. Their music, an idiosyncratic blend of rock, folk and electronics has a life and agenda all its own. Their cultivation of this unique blend has spawned a new genre in indie rock often referred to as "indietronic."
Their music is so important today becauuse after nine releases and 14 years they have decided to stop making it. Last May, Grandaddy released Just Like the Fambly Cat and made it public that they plan on going their separate ways. Within their sizable repertoire, three albums in particular stand out to do justice to this group's unique musical soul.
With Sophtware Slump (2000), Sumday (2003) and Just Like the Fambly Cat, Grandaddy left its mark on a generation searching to satisfy its eclectic tastes. It was their distinctive and unsullied approach to music that attracted so many underground fans (touring with Elliott Smith for Figure 8 probably didn't hurt). But their poetically random lyrics found Grandaddy a special place in our hearts.
Upon first listen of Sophtware Slump, be ready to get lost in the dreamy ballads. "Jed the Humanoid's" static introduction leads seamlessly into the deep hum of a synthesizer, while a softly plucked acoustic guitar keeps you firmly planted. Although their music incorporates a plethora of electronic sounds, it still retains a very organic feel. On "Crystal Lake," Lyle's Neil Young-inspired vocals yearn for release from a sad existence in a technology-drenched city. The dominant presence of repeating electronic bleeps and bloops over solid guitar riffs makes it easy to imagine Lyle running in panicked circles through a concrete jungle. The bizarre lyrics layered on an unsystematic intermingling of sounds made Slump a wonderfully mind-altering release.
Their musical maturity was reached, however, three years later with the release of Sumday. The group tightened up its sound and Lytle discovered the stopping power of a well-placed exhale. While Lytle found new softness and range in his voice, the band discovered new energy. Tracks like "Now It's On" and "Stray Dog and the Chocolate Shake" feature fast-paced '80s guitar chords and squelching keyboards that are hard to ignore sitting down. Other favorites included "On Your Merry Way" and "OK With My Decay," where Lytle's lyrical layering creates an ethereal landscape complete with a keyboard-induced electronic wilderness.
With their final and latest release, Grandaddy says goodbye in a fashion befitting its short-lived legacy. The static guitars and unruly percussion revisit Lytle's past life as a skateboarder on tracks like "50%" and "Jeeze Louise," but not without staying true to the band's indietronic roots. "Where I'm Anymore" and "The Animal World" are perfect examples of the weird, lazy music that could only have come from Grandaddy. Other tracks, however, are an open display of Grandaddy's final farewell to fans. "Rearview Mirror" is an obvious lament of carefree days during the band's inception, while "Summer It's Gone" tells the story of, in Lytle's words, " ... and I don't know which way is the best way to go. In dreams I hear voices that say look this way, and so I turn away ... "
In the end it was a money isssue that kept the band from staying together. For ethical reasons the band as a whole refused to compromise creativity for a major label radio-friendly sound. In a recent interview, Lyle clamed he never wanted to be a "tour monkey," and that the band couldn't make any money no matter how long it stayed on tour. He also claimed that the title of Grandaddy's farewell album was a romanticism of cats being renowned for just disappearing when they are ailing.
Although there will be no new Grandaddy releases to look forward to, the band's music will live on forever in the hearts of those who hold it dear. For a music-lover with adventuresome tastes, this band needs some newfound appreciation. Wanna hear Grandaddy? Go here.
Sufjan's magical, mysterious Austin extravaganza
23/09/06 21:21
By SAM LADACH-BARK
Sometimes music can move and affect us in unexpected ways. It can give us joy, sadness, fear and devotion. The right combination of a softly plucked banjo and a rising violin melody can put hairs on the back of one's neck. Music affects us all in different ways. For some it is nothing more than a pleasant distraction, but for others it is the language of emotion.
On Saturday, Sept. 16, Sufjan Stevens plus musicians brought musical expression to life for a sold-out crowd in Austin at the Paramount Theatre. At their disposal were strings, percussion, brass and one of the most talented aspiring singer/songwriters of our time.
Sufjan Stevens, though already in his mid-thirties, shares one of the most celebrated and vibrant careers in indie music. Commonly associated with the modern indie folk revival, his multi-instrumental bands make bold, heart-stopping statements. He has six full-length albums to his name and is a co-founder of asthmatic kitty records. But he's stated publicly that this is just the tip of the iceberg for his career. With the release of 2003's Michigan and the widely acclaimed 2005 release Illinois, Stevens began a project of epic proportions. He plans to write and record an album for all 50 United States, which in interviews has fluctuated between utmost sincerity and sardonic laughter. Rumor has it that Minnesota or perhaps Rhode Island will become his next project.
His performance, which he did twice in Austin, was nothing short of breathtaking.
Opening duties were wonderfully and affectionately filed by My Brightest Diamond,who left heart tracks on the audience. Fronting the group is Shara Worden, longtime backup vocalist for Stevens, who played selections from her new album Bring me the Workhorse.
The Paramount, with its vintage acoustics and angelic paintings, became the perfect settng for this asthmatic kitty double-feature performance. When it was Stevens' turn, perhaps it was the Paramount's theatrical atmosphere that led him onto the stage wearing silk eagle wings. His band, "The Cinese Butterfly Brigade" as he called them, was clad in pastel-colored butterfly wings.
Throughout the performance, the audience was treated to Stephens' adorable stage presence and selections from Michigan, Seven Swans and Illinoiis. His full-bodied throng of musicians played and followed his every note with perfect clarity and timing, adding depth and strength to Stevens' soft poetic lyrics. Breaths and applause were held until the very last note of each song was barely audible.
The highlights of the night included his performance of "Casimir Pulaski Day" from Illinois. On the album it's a very powerful minimalist track featuring little more than strings, backup vocals and Stevens' doleful words about almost falling in love. When the rest of the group got ahold of this song, however, it changed character, transforming into a powerful celebration of life.
He also introduced a new song titled "Majesty Snowbird," which proved to be one of the most energetic and beautiful numbers that evening. With his encore performance of "Chicago," the crowd relived the first moments they fell in love with Stevens' music. His voice, weaving in and out of violins, drums, trumpets and piano keys, never had a more triumphant moment.
After the last note was played, he stood there frozen in front of an instantaneous standing ovation stretching over two balconies and 1,300 people. I'm not sure he knew what to do with himself. I'm not sure the crowd did either, but we kept on clapping and cheering.
For more information on Sufjan Stevens' fall 2006 tour, go here.