#i just think it's weird that he has the volume on max with the bass so loud it rips thru the wall separating us

[realkaijuhavecurves]

My neighbour is making a variety of loud noises at 2 AM

[nobody-knose--archive]

well, today i figured i didn’t have anything better to do & liveblogged the pingry ep. it’s probably a better stepping stone further into the tally void than incomplete demos, coming right off of complete demos, at least.

-from what i know this one basically includes all the mmmm songs that weren't on complete demos (andrew singing ones wahoo) & the expected demos that didn't end up anywhere else + just a friend. i also believe this one was recorded similarly to complete demos so i really have no clue what to expect for taken for a ride's vocals. anyway here i go

-the bidding sounds impressively professional to start things off, but i suppose humming isn't a terribly complex technique anyway. the intro feels a little longer th

-whoah there if that aint a marked difference in audio quality here we go

-guitars also sound different & i don't remember if this album has steve or ross on it i now realize

-goodness the mixing is wonky for rob's segment. the backing vocals do not need to bounce between channels

-why do they have kinda weird voices for the chorus. sounds like they're trying an accent or something. i can barely recognize who's singing

-the keyboard backing in zubin's segment sounds the same as usual, as in, it sounds so stupidly similar to the questions answered backing music that i'm offended i couldn't pick up they're the same for so long

-less echo on disappear actually. at least they still had the brass section

-still a weird sound on the chorus but maybe i can chalk that up to different mixing & more red

-outro sounds not super different. still very good drumming on display which will give me the push i need to decide it's ross drumming

-however i don't hear him shouting out the auctioneer stuff, and given that it was presented as a video during the mmmm recording, i might assume it was done specially for the mmmm releases, so maybe he didn't drum for this album after all

-it does have a greater similarity to the live performances even if the keyboarding is using a different synth

-well now. that's a real piano

-and as any piano will be when played that low, it's out of tune. very

-and everyone's singing? i can't hear andy in the slightest. this is interesting

-i mean i can certainly hear him doing plenty on the piano. but. it's interesting

-i suppose given the ep's hallmanac description, as a compilation of acoustic/one-take recordings i shouldn't be surprised taken for a ride is this different. but boy is it jarring. sounds incredibly different without the heavy synthesizing and complementary instruments

-barebones certainly. not much more of a way to describe it. that's what i expected just not in this way. i like the sound of this bridge though

-do very much wish i could hear andrew's actual voice. even at acoustic live performances he would sing at the very least. then again, that was years later i suppose.

-and it's only now at the final chorus that i realize, somehow, this is a piano-only song. no guitar, no drums even. that's really interesting. even the album version had some drums & bass

-red's singing isn't as impressive here. not as many high notes. understandable. bitch

-different rhythm on the quick part! bet steve feels lucky he didn't have to drum this part although i am hearing some sort of. pants-slapping? now that would be a sight to behold irl

-and that's the end

-goodness. be born. considering how this song was always & every time performed acoustic live i really expect to hear nothing here i haven't from concert recordings

-we're missing whatever the hell that skittery little shaker is called. alas i am not a percussionist & do not know the name of every auxilliary instrument ever

-rippin it up on the melodica bay be. a suitable replacement for whistling considering that never was all that good live. nobody can compare to bora karaca at whistling

-there's extra bass harmonies on display here. swell

-also no percussion i'm realizing

-da-da-da!

-but yeah normally ross uses brushes on a box/seat drum (also don't know what that's called!) for some good gentle percussion & it's not here. really hoping this won't be a trend because i'm fond of drumming even if it's from stebev himself

-bah (chorus) bah

-wait a minute that's not a bah! that's a doo! big difference! what are you doing rob

-i can tell it's one-take because rob has to take a breath in the middle of that final long bah there

-ooh dropping off the guitar there real quick are you? and not even doing the full outro too. good way to spice things up at the end.

-honestly maybe the reason i & so many other th fans dislike be born so much isn't even the country sound and weird subject matter, it's the fact that this song lacks a whole lot of the variability that might separate it from other music. in the album versions there are violins/fiddles, and the live versions... don't have that. maybe some halfway decent whistling at best. it just is what it is. especially compared to the rest of mmmm- g&e could often be more faithfully recreated on stage, but mmmm got to mix things up most of the time, except for be born. food for thought

-anyway. of all the songs i would expect to be absolutely completely identical (other than be born) the whole world and you definitely takes the cake. a delightful song. i should listen to it more.

-but yeah it was a toy orchestra piece long before a tally hall piece, and toy orchestra was & is nothing but silly little live performances. how on earth could they make this one completely different

-other than. the "punk rehearsal" i've heard of from incomplete demos. that's just. a thing i think

-oh hold on i didn't even listen to the end of be born there was a tiny outro with chat at the end oh that's adorable

-hey i can hear andrew's voice! nice!

-starting off with a full ensemble vocals, all sorts of harmonies in action, and a normal piano instead of a toy piano, so already i'm being proven decently wrong on this song's inability to be greatly altered

-other than that. i kinda like how it sounds as if they're stumbling over their words at points

-boy has andrew's voice changed hasn't it. i know i haven't listened to the solo albums so i'm not exactly one to speak but he really developed his singing a lot over time

-clapping live & not in a studio sure sounds a lot worse, especially when it's like 4 people max doing it and not a whole crowd

-zubin (i'm pretty sure) flexing on us all at the end there. good for him

-ayyyyyyy

-it's the song that's sure to invoke an emotional response out of me >:}

-it's also the song i was convinced had andrew vocals in the background (the badadum's between verses) for a good while. still not 100% certain it's rob instead but it's not like i can ask them themselves

-yeah i'll admit it right here this is the song i listen to when i'm going through emotional turmoil. not this version of the song, and no, i don't mean i listen to i'm gonna win or even the tally hall rock version of this one. i mean i listen to the cover of it from we think we're playing in a band. and that's enough on this subject!

-however given the above information yeah i am pretty familiar with this song already. not a new experience right here

-i greatly appreciate the heavy piano work. it's one of my favorite parts about the song

-oh and i should stop talking about that subject right there as well. actually i think i should just say nothing about this song in general. you'll see why in about uhh pauses video

-this friday or so? damn that's sooner than i thought lucky me

-everything will be fine! i'll be making it through!

-oh hello there. "ALBUM" is not a word beamed directly into my brain with great volume thank you very much

-so. it's the outro to good day done with weird haste. looping. no actual chord pro-

-this is. is this some sort of radio performance? what the hell is going on

-steven!!! hello there thanks for the confirmation & god is it surreal to hear his name truly uttered in the context of red rob zubin andrew. wow

-pingry school spring fling. how the hell have i never heard about whatever the hell this track is before

-wait- is it over? song listed as good day but it's in fact the outro to good day done on. a radio program maybe. and now it's a really strange sounding performance of yearbook

-i genuinely can't tell if there's a filter on rob's voice or if the micro- shit that's loud

-what in the hell is going on is this another radio performance or something? like ok yearbook at least was on songs about girls by listedblack but i really want this to be made clear soon

-all i really think i need to know about yearbook is that it's another rob "heterophobic homophonic" cantor angsty boy band song and. listening to it for the first time her. that impression sure isn't going away

-at least i get to hear andrew twinkling those ivories in the back. got a good sound. even if the mixing here is all sorts of wack. a song this complex should not be performed live with only like one microphone

-alright rob i get it you were in love with a girl- and it's over? ok

-live performance of just a friend holy shit hell yes hell yes hell yes for some reason i thought this would be the studio version but no

-i cannot imagine what this song will sound like with steve on the drums hell yes oh will there be banter will rob forget his lines will red say some random 4-syllable phrase will zubin be the best singer in the whole damn band give me an answer now

-already hearing some banter :}

-they're moving weirdly fast and andrew's already got the piano playing even in the beatboxing part. wowie

-ooh kick it andy do those riffs hell yeah

-"that sounded fishy... zubin sedghi!" i'm in love

-KICK IT ANDY

-AND ZUBIN

-and there's the drums! go stevie. go stevie

-good ness andrew just will not let up on the sick as hell keyboarding will he fukc yeah bro kill it

-rob sounds unbelievably tired for this i'm half expecting him to trip up the lyrics at any moment

-"i don't buy it" "don't gimmie that!" you say it boys. oh classic zubin line right there preserved on an official tally hall recording for all eternity, what a treasure this is

-hm isn't this a bit early to go into the pseudo-breakdown chorus? no it works. andrew still rippin it up of course

-and there's the tambourine bay be!

-buildup to the "oh snap" isn't as intense as it could get in later performances which i will gladly blame in its entirety on steve <3

-boy oh boy does rob's voice just sound generally different here. so young so so young

-shooby-doo-wah. well i had low expectations which were not quite fulfilled but it's technically more than what we got on the studio recording so. i won't complain

-THERE IT IS

-BARBEQUE SAUCE BAY BE

-what a fool i was to pause the moment he said it. silly old me <3

-no, no, thank you for coming! but hold on one second. is there not... one more track? technically not a song, technically something i think i've heard before, but if i take a step over to the tally archive...

-cell phone call.

-circus you say? if i had to guess it's the whole world & you given the 08 version of the song but that's a vague guess. can't think of anything better but my current answer isn't that good on its own

-ah! it's joey jo joseph. this wouldn't happen to be that phone call spoken of that, like, invited joe into the band in the first place, would it? i remember that story from an old bio or something, but it doesn't seem like the type of thing that'd be recorded & put on an album. hard to say

-pj? like a certain rob cator frat dude voice JP!?

-well well well now. i'm not sure what to say. i don't recognize that song they're playing as the outro. it could either be some vague listedblack or miscellaneous early tally hall song lost to the void or a demo. i wouldn't exactly know. anyway that ends the pingry ep. shorter than i thought it be, lucky old me. hope you enjoyed!

[dustedmagazine]

Dust, Volume 5, Number 12

Matthew J. Rolin 

Ned Starke was right. Winter is coming, and maybe, for our Chicago and Eastern Seaboard contingent, it’s here. That’s a good excuse to find a big comfy chair near the stereo and dig into some new music. This time we offer some hip hop, some finger picking, some music concrete, some indie pop and, just this once, a Broadway musical. Contributors include Ray Garraty, Jennifer Kelly, Justin Cober-Lake, Jonathan Shaw, Bill Meyer and Andrew Forell. Stay warm.

ALLBLACK x Offset Jim — 22nd Ways (Play Runners Association)

ALLBLACK and Offset Jim have collaborated on a few tracks before, but this is their first release together. Their differences, which are significant, make the disc enjoyable through and through. Offset Jim has a poker face delivery that can fool anybody into thinking he’s deadly serious when he’s clearly having fun. ALLBLACK, on the other hand, is known for his goofy humor, but his goofiness is a mask that obscures a poetic psycho killer. Their combination of a healthy dose of humor and true-to-the-streets seriousness—seen here— makes a case for tolerating all kinds of oddball pairings:

“Don't leave the house without your makeup kit Diss songs about your real daddy just won't stick Hey, bitch, say, bitch, I know you miss this demon dick Please comb Max hair, take off them wack outfits”

Ray Garraty

 David Byrne — American Utopia (Nonesuch)

If you live long enough, everything that seemed edgy and electrifying in your youth will turn safe and comfortable in middle age. You’ll buy festival tickets with access to couches, tents and air conditioning. Clash songs will turn up in Jaguar ads. Kids at the playground will run around sporting your Black Flag tee-shirt. You may even find yourself in a $250 seat, at a beautiful theater, with your beautiful wife, seeing “American Utopia,” David Byrne’s new jukebox musical, and, to borrow a phrase, you may ask yourself, “How did I get here?” And look, you could do worse. These are wonderful songs, still prickly and spare even now in full orchestral arrangements, still booming with cross-currented, afro-beat rhythms (Byrne got to that early on, give him credit), still buoyed with a scratchy, ironic, ebullient pulse of life. It’s hard to say what plot line stitches together “Born Under Punches,” “Every Day is a Miracle,” “Burning Down the House” and “Road to Nowhere,” or how absorbing the connective narrative may be. It’s not, obviously, as kinetic and daring as the original arrangements, stitched together with shoe-laces, stuttering with anxiety, bounced and jittered by the back line of Tina Weymouth and Chris Frantz, clad in an absurdly oversized suit. And, yet, it’s not so bad and if I had three big bills to spend on a night at the theater, I might just want to see it re-enacted. Because I’ve gotten safe and comfortable, too, and anyway, better that than the Springsteen show.

Jennifer Kelly

 Charly Bliss — Supermoon EP (Barsuk) 

Supermoon by Charly Bliss

Charly Bliss’ latest release Supermoon, collects five tracks written during the Young Enough sessions that didn’t make the final cut. The EP showcases the band transitioning from the grungy edge of their debut Guppy to the more polished pop sound of its successor. Eva Hendricks is one of the moment’s most distinctive voices, and these songs find her grappling with the themes so tellingly addressed on Young Enough. Although the songs here deserve release, the interest is in what they don’t do. More than sketches, they are less lyrically formed than those on the album, more guitar driven and without the big pop pay offs. The band, Hendricks on guitar and vocals, her brother Sam on drums, guitarist Spencer Fox and bassist Dan Shure still produce a hooky, engaging record which will appeal to fans. Newcomers might want to start with the albums but Supermoon is not without its moments.

Andrew Forell

  Cheval Sombre — Been a Lover b/w The Calfless Cow (Market Square)

Cheval Sombre - Been a Lover b/w The Calfless Cow by Market Square Recordings

Cheval Sombre teamed with Luna/Galaxie 500’s Dean Wareham last year for a haunting batch of cowboy songs that found, as I put it in my Dusted review, “unfamiliar shadows and crevices in some very familiar material.” Now comes Cheval Sombre, otherwise known as Chris Porpora, with a brace of soft, dreamy folk-turned-psychedelic songs, one a gently sorrowful original, the other a cover of Alasdair Roberts. “Been a Lover” slow-strums through a whistling canyons of dreams, wistfully surveying the remnants of a long-standing relationship. It has the nodding, skeletal grace of Sonic Boom’s acoustic “Angel,” perhaps no coincidence since the Spaceman 3 songwriter produced the album. “The Calfless Cow” anchors a bit more in folk blues picking, though Porpora’s soft, prayerful vocals float free above the foundations. Both songs feel like spectral images leaving traceries on unexposed film—unsolid and evocative and mysteriously, inexplicably there.

Jennifer Kelly

 Cigarettes After Sex — Cry (Partisan Records)

Cry by Cigarettes After Sex

Cigarettes After Sex’s 2017 debut album was a quite lovely collection of slow-core, lust-lorn dream pop. On the follow up Cry Greg Gonzalez (vocals, guitar), Phillip Tubbs (keys), Randall Miller (bass) and Jacob Tomsky (drums) double down on their signature sound with half the effect. The melodies are still here, the delicate restraint also, Gonzalez’ voice whispers seductively sweet nothings but this time around it is largely nothings he’s working with. It’s not that this is a terrible record, it’s more that the wreaths of gossamer amount to not much. Lacking the humorous touches of the debut, Cry suffers from Gonzalez’ sometimes witless and earnest lyrics which are mirrored in the lackluster pace which makes one desperate for the sex to be over so one can get back to smoking. Cry aims for Lynch/Badalamenti atmospherics and hits them occasionally but too often lapses into Hallmark sentimentalism. For an album ostensibly about romantic and physical love Cry is dispiritingly dry. There is only ash on these sheets. Serge Gainsbourg is somewhere rolling his eyes, and a gasper, in the velvet boudoir of eternity.

Andrew Forell

  Lucy Dacus — 2019 (Matador)

Between Historian and boygenius, Lucy Dacus had a pretty memorable 2018. It makes sense that she'd want to document 2019. What she did instead was release a series of holiday-ish tracks over the course of the year and then collect them as the 2019 EP. The covers will likely get the most attention, whether her loving take on Edith Piaf's “La vie en rose” or the rocking rendition of Wham!'s “Last Christmas.” Dacus doesn't perform these songs with any sense of snark; she's both enjoying herself and invested. Counting Bruce Springsteen's birthday as a holiday might be silly, but she nails “Dancing in the Dark,” turning it to her own aesthetic. The weird one here is “In the Air Tonight,” which smacks of irony and whatever we call guilty pleasures these days, but she plays it straight, arguing for it as a spooky Halloween cut, and sort of pulls it off.  

Focusing on the covers might lead listeners to forget how good a songwriter she is. The Mother's Day “My Mother & I” feels thoroughly like a Dacus number, opening with contemplation: “My mother hates her body / We share the same outline / She swears that she loves mine.” Holidays aren't easy. “Fool's Gold” (stick this New Year's track first or last) falls like snow, laden with regret and rationalization. Dacus works through holidays with care and concern. The covers might be fun (even the Phil Collins number works as a curiosity), but when she lets the more conflicted thoughts come through, as on “Forever Half Mast,” she maintains the hot streak. The EP might be a bit of a diversion, but its secret complexity makes it more surprisingly forceful. Justin Cober-Lake 

 Kool Keith — Computer Technology (Fat Beats)

Computer Technology by Kool Keith

Naming an album Computer Technology in 2019 is like calling a 1950 disc A Light Bulb. Ironic Luddite-ness is a part of the charm of the new Kool Keith’s album, his second this year. The record has a cyberpunk-ish (circa 1984) feel, thanks to wacky, early electronics-like beats that no sane hip hop artist today would agree to rap over. But who said Kool Keith was sane? He’s like a computer virus here, infesting a modern culture he views with disdain. His kooky brags could be written off as old man rants if he been in the rap game since day one. On “Computer Technology” he says: ‘You need to sit down and slow down’, yet he himself shows no signs of slowing down.

If Kool Keith’s 1980s science rap messed around in a high school lab, he’s now a tenured professor in hip hop science blowing up the joint.

Ray Garraty

 Leech — Data Horde (Peak Oil) 

Data Horde by Leech

Brian Foote’s work has a knack for showing up in slightly unexpected and subtly crucial places, whether it’s behind the scenes at Kranky and his own Peak Oil imprint, or as a member at times of Fontanelle or Nudge, or even just helping out Stephen Malkmus with drums. On Data Horde, his debut LP of electronic music under his Leech moniker, Foote works with his customary quiet assurance and subtly radical take on things, delivering a brief but satisfying set of bespoke productions that somehow evoke acid and ambient tinges at the same time, feinting towards full-out jungle eruptions before turning the corner and somehow naturally going somewhere much more minimal. Whether it’s the skittering, pulsing “Brace” or the lush and aptly-named “Nimble”, the results are consistently satisfying and the six tracks here suggest that we could stand to hear a lot more from Leech.  

Ian Mathers

Midnight Odyssey — Biolume Part 1: In Tartarean Chains (I, Voidhanger)

Biolume Part 1 - In Tartarean Chains by MIDNIGHT ODYSSEY

 Midnight Odyssey’s massive new record sounds like what might happen if Gary Numan’s Tubeway Army smoked up a bunch of Walter White’s finest product and decided that they must cover Pink Floyd’s Live at Pompei, complete with ruins and really big gongs. It’s interstellar. It’s perversely grandiose. The synths soar and rumble, the vocals come in mournful choral arrangements, the low end thunders and occasionally explodes into blast-beat barrage. It’s almost impossible to take seriously, and it’s presented with what seems like absolute seriousness. In any case, there’s a lot of it: seven tracks, all of which exceed the eight-minute mark, and most of which moan and intone and resonate well beyond ten minutes. You’ve got to give it to Dis Pater, the only identified member of Midnight Odyssey — he really means it. But it’s often hard to tell if Biolume Part 1 (Pater threatens that there are two more parts to come) is the product of an unchecked, idiosyncratically powerful vision or just goofball cosmological schmaltz. To this reviewer, it’s undecidable. And that’s interesting.

Jonathan Shaw

 Nakhane — You Will Not Die 

South African singer Nakhane Touré has a voice that can stop you in your tracks when he unleashes it, and a willingness to tackle uncomfortable topics (homosexuality, colonialism, and the way the imported Presbyterian church interacts with both) that’s seen him both praised and threatened in his homeland. You Will Not Die marks a shift in Nakhane’s music, both in terms of how directly and intensely he engages with those places where the sacred rubs up against, not so much the profane but the disavowed, even while sonically everything is lusher and brighter, whether it’s the slinky electroglam of “Interloper” or the bell-tolling balladry of “Presbyteria.” For once it’s worth seeking the deluxe edition, for the Bowie-esque Anohni duet “New Brighton” and the defiantly melancholy cover of “Age of Consent” alone.

 Matthew J. Rolin — Matthew J. Rolin (Feeding Tube)

Matthew J. Rolin by Matthew J. Rolin

Matthew J. Rolin steps to the head of the latest class of American Primitive guitarists on this self-titled debut LP. He is currently a resident of Columbus, Ohio, but his main inspirations from within the genre are Chicagoan. Reportedly a Ryley Walker concert sent him down the solo guitar path, but the one time this reviewer caught him in concert, Rolin only made one substance-oriented statement throughout the set, and it was more of a shy assertion than an extravagant boast. His sound more than pays the toll. Bright and ringing on 12 strings, pithy and structurally sound on six, he makes sparing use of outdoor sound and keyboard drones that bring Daniel Bachman to mind. Like Bachman did on his early records, Rolin often relies upon the rush of his fingerpicking to draw the listener along, and what do you know? It works.

Bill Meyer

  Claire Rousay — Aerophobia (Astral Spirits)

Aerophobia by Claire Rousay

To watch Claire Rousay perform is to see the process of deciding made visual. You can’t put that on a tape, but you can make the tape a symbolic and communicative object. To see Rousay repeatedly, or to play her recordings in sequence, is to hear an artist who is rapidly transforming. This one was already a bit behind her development when it was released, but that can be turned into a statement, too. Perhaps the title Aerophobia, which means fear of flying, is a critique of the tape’s essentially musical content? It is a series of drum solos, unlike the more the more recent t4t, which includes self-revealing speech and household sounds. If so, that critique does not reproach the music itself, nor should it. Even when you can’t see her, you can hear her sonic resourcefulness and appreciate the movement and shape she articulates with sound.

Bill Meyer

 Colin Andrew Sheffield & James Eck Rippie — Exploded View (Elevator Bath)

exploded view by colin andrew sheffield & james eck rippie

Colin Andrew Sheffield, who is the proprietor of the Elevator Bath imprint, and James Eck Rippie, who does sound work for Hollywood movies, have this understanding in common: they know that you gotta break things to make things. The things in question don’t even have to be intact when you start; at any rate, the feedback, microphone bumps, blips and skips that make up this 19-minute long piece of musique concrete sound like the product of generations of handling. It all feels a bit like you’re hearing a scan of the shortwave bands from inside the radio, which makes for delightfully disorienting listening.

Bill Meyer

 Ubik — Next Phase (Iron Lung)

Next Phase MLP (LUNGS-148) by UBIK

 Philip K. Dick’s whacko-existentialist-corporate-satire-cum-SF-novel Ubik turns 50 this year, and serendipitously, Australian punks Ubik have released this snarling, tuneful EP into the world. There’s a whole lot of British street punk, c. 1982, in Ubik’s sound, especially if that genre tag and year make you flash on Lurkers, Abrasive Wheels and Angelic Upstarts — bands that knew how to string melodic hooks together, and bands that had pretty solid lefty politics. Ubik’s songs couple street punk’s populist (in the pre-Trump sense) fist-pumping with a spastic, elastic angularity, giving the tracks just enough of a weirdo vibe that the band’s name makes sense. The combination of elements is vividly present in “John Wayne (Is a Cowboy (and Is on Twitter)),” a hugely fun punk song that registers a fair degree of ideological venom as it bashes and speeds along. Somewhere, Horselover Fat is nodding his head and smiling. 

Jonathan Shaw

 Uranium Club — Two Things at Once (Sub Pop)

Uranium Club (sometimes Minneapolis Uranium club) made one of the best punk albums of this year in The Cosmo Cleaners. “A visionary insanity, backed by impressive musical chops,” I opined in Dusted last April, setting off a frenzy of interest and an epic major label bidding war. Just kidding. Hardly anyone noticed. Uranium Club was this year’s Patois Counselors, a band so good that it made no sense that no one knew about them. But, fast forward to now and LOOK at the heading of this review! Sub Pop noticed and included Uranium Club in its storied singles club. And why not? The bluntly named “Two Things at Once,” (Parts I and 2), is just as tightly, maniacally wound as the full-length, just as gloriously, spikily confrontational. “Part 1” scrambles madly, pulling hair out by the roots as it agitatedly considers “our children’s creativity” and whether “I’m too young to die.” It’s like Fire Engines, but faster and crazier and with big pieces of machinery working loose and flying off the sides. “Part 2” runs slower and more lyrically but with no less intensity, big flayed slashes of discord rupturing its meditative strumming. There are no words in it, and yet you sense deep, obsessive bouts of agitation driving its motor, even when the brass comes in, unexpectedly, mournfully, near the end. This is the good stuff, and no one wants you to know about it. Except me. And now Sub Pop. Don’t miss out.

Jennifer Kelly

 Various Artists— Come on up to the House: Women Sing Waits (Dualtone)

Come On Up To The House: Women Sing Waits by Dualtone Music Group, Inc.

Tom Waits’ gravelly voice is embedded deep in the fabric of how we think of Tom Waits songs. You can’t think of “Come On Up to the House” without sandpapery catch in its gospel curves, or of “Downtown Train” without his strangled desolation; he is the songs, and if you don’t like the way he sings, you’ve probably never cared much for his recordings. And yet, here, in this all-woman, star-studded, country-centric collection of covers, you can hear, maybe for the first time, how gracefully constructed these songs are, how pretty the melodies, how well the lyrics fit to them. You cannot believe how different these songs sound with women singing. It is truly revelatory. Contributors include big stars (Aimee Mann, Corinne Rae Bailey), living legends (Iris Dement, Roseanne Cash), up-and-comers (Courtney Marie Andrews, Phoebe Bridgers) and a few emerging artists (Joseph, The Wild Reeds), and all have a case to make. Phoebe Bridgers distills “Georgia Lee” into a quiet, tragic purity, while Angie McMahon finds a private, inward-looking clarity in “Take It With Me.” Courtney Marie Andrews blows up “Downtown Train,” into a swaggering country anthem, while Roseanne Cash infuses “Time” with a warm, unforced glow. These versions transform weird, twisted reveries into American songbook classics, which is what they maybe were, under all that growling, all along.

Jennifer Kelly

[cambriomusic]

Mike Small Interview

Mike Small is a musician from Toronto, Canada. He was a founding member of the Meligrove Band, and now plays bass for a number of bands. CamBrioMusic.com is delighted to present the following interview. It has been condensed for length considerations.

Cam Brio (CB) = Thanks so much for making the time to be here. How did the documentary about the Meligrove Band come about?

Mike Small (MS) = We were playing a show and a group of students wanted to interview us for a video project. We had a lot of fun with them, and not long after they contacted us again and wanted to make a full-length documentary about a band. They ended up capturing a year of some bad stuff that happened with us. We had our bus break down in Florida and we were stuck in Orlando for a week. They weren’t able to come down and shoot that part. We had two bus breakdowns during the overall time of filming, and I think they composited them both into one story for the sake of continuity. It was December 2010 when we were stuck in Orlando, and we didn’t know when we’d be able to leave. The bus breakdown shown in the movie was in Reno, Nevada. In Montreal we had a belt snap on it. Eventually, we sold it to a soccer team. (laughs)

CB = In the documentary, a lot of Toronto-area bands cite the Meligrove Band as an influence, how did it feel to hear that?

MS = It’s weird, but some if it we already knew because bands tell each other that kind of stuff. I remember at the Montreal festival where we met the guys from Tokyo Police Club, their keyboardist Graham came and sat at our picnic table in the band area and told us what an influence we were on them. The very first comment on our band’s Myspace page, when we had that about a million years ago, was teenaged Graham saying, “I’m going to have a band and get huge, and we will let you open for us.” (laughs) It came true.

CB = Who are some of your musical influences?

MS = A lot of my early bass playing life comes from Paul Simonon from The Clash. Around that time too, I would say Klaus Flouride from the Dead Kennedys. Mike O'Neill from The Inbreds was an influence, but it wasn’t until recently that I started to figure out his fun chords. At some point I got really interested in the Neil Young album “Harvest.” The bassist plays grooves only on the kick drum, and was otherwise staying out completely. The bass becomes a physical presence that controls the volume of the song. Before listening to “Harvest” I would just play constantly on our songs, but when bass players do that songs have no dynamics. But now I find that with bass, not playing is a part of playing. You’re deciding what the dynamics of the songs are. A lot of bassline ideas come from me walking around with the new song I had to play on, in my head. I’d go home and try to figure out what I was hearing in my head. Then I’d go and record and change it around again, that’s generally the process. Two other guys who influenced my playing are Robert Sledge, who played in the Ben Folds Five, and Derek Tokar, who led the Toronto band Radioblaster. Both of them played a Gibson bass with a Russian big muff distortion pedal. They got me into really fuzzy bass you could play on high strings and sound almost synthy, and I definitely put that to use on almost every Meligrove album and anywhere else I could get away it with. (laughs)

CB = Funny connection here, I went to the same high school as you. Did you play a lot of school events?

MS = Yeah, in a sense. Before the Meligove Band formed, I didn’t know Jay or Darcy at all; they had their own band. Meligrove started because the band backing the school choir had all graduated, and the teacher who ran the choir knew that the three of us played instruments, so she approached us to take over. Then the three of us became the school liturgical band, before we were the Meligrove Band. When grade 12 ended, their bass player was leaving so they asked if I would start playing with them. Are you familiar with Sandy from the band Fu*ked Up?

CB = Yeah, for sure.

MS = She went to the same high school and had her own punk band called SNI. If I said no to Jay and Darcy, they were going to ask Sandy to play in the band next. In a sense, Sandy has me to thank for being in Fu*ked Up. (laughs) So when high school ended, that’s how I joined the band. I remember that the three of us went to a Treble Charger concert at the Opera House and that was the first time we all hung out. Side note: I’ve become a freelance bass player for hire. Do you know Rich Aucoin the East Coast singer?

CB = Don’t think I know him.

MS = Well, he sent me a message asking if I would play a bunch of shows with him starting in Ottawa in two weeks. I said yes, and my first show with him was at the Ottawa CityFolk Festival. We were in this arena and there was an outdoor stage next to it. Bush, Live and maybe Our Lady Peace were playing, and I don’t really like Live but they were a lot of fun. (laughs)

CB = Did you ever play with The Cybertronic Spree?

MS = No, but I did make their website. For a while they were getting a different friend to appear on stage as “Weird Al” Yankovic with them. At their very first show I was their first “Weird Al.” They play the ‘80s Transformers soundtrack and there’s a “Weird Al” song on it, that’s why they get someone to play him. Did you see that Kickstarter they did that got over $100,000?

CB = I missed that one.

MS = They asked for something like $15,000 to make an album and they raised way more. They planned to roll all that money into their live production, and were going to go on a huge tour this summer but obviously now can’t. Right before this Kickstarter they were going to play the Gathering of the Juggalos and asked me go to and be their tour manager and merch person. It didn’t work out, but right after that discussion they did this massive Kickstarter. If they ever ask me again, I know they can afford me. (laughs)

CB = In the Meligrove Band you guys always seemed to do your own thing and not try and find into a particular “music scene.” Did you actively try and stick to your own style?

MS = Yeah, I would say that’s accurate.

CB = Do you think that sticking to your own style helped the band’s longevity?

MS = In a sense, yeah. Often in a band your longevity is decided by the public. If in the popular imagination you are an example of a certain style and then that style falls out of favour, you kind of get dragged down with it. I think a lot of music scenes can emerge in an organic social way. A scene may center around an arts school, for example. Where we grew up there was an arts high school and the teenage music scene there was amazing. When we started trying to play in Toronto, we didn’t know anyone and had to exist outside of those social connections. We also always took a while to write songs and record albums, so if we followed trends then the trend would be long gone by the time we put something out. We may have been influenced by things that were current in an organic way, but we never sat down and said, “this is what’s hot right now, so let’s do it.”

CB = Are the other guys in the Meligrove Band playing in other groups now?

MS = Brian and Darcy have a band together. They recently put their album on Spotify. The band is called Quite Nice. Jay has been writing music. He’s been mixing a band’s record and it sounds awesome. He actually mixed the last Meligrove album all by himself. It’s my favourite sounding record we made. I was playing in a live karaoke band for a little over two years. That was really busy, around 3 – 5 gigs a week and a 4-hour set on stage. I have a garage rock band called MAX that’s with Dave Monks and Nick McKinlay. We’re just finishing up an album right now. I have this band called Bankruptcy and we had finished an album and were sitting on it for a while, unsure of how to put it out. We put it online, and then one day later a record label contacted us and wanted to put it out on vinyl. We deleted it to give it time to get pressed. We were supposed to get out and play this summer, but it’s too bad that now we can’t now.

CB = Who are some of the bands you’re listening to right now?

MS = It’s rough because I was playing live karaoke until last fall and it messed with my taste in music. I had to keep track of over 400 songs because we didn’t know what people would choose to sing. So I was constantly listening to a playlist of our repertoire, keeping all 400+ songs fresh in my mind, hardly ever listening to anything else. Lately I’ve been more into The Inbreds. I got this fun ‘70s synth record called “Plantasia.” It was sold in some plant shop in the ‘70s in LA and was reissued last year. The idea is that it’s scientifically engineered to make your plants happier. It’s really just some synth nerd getting stoned and having fun with his synths. It’s hilarious and really fun to listen to. I really like that Neil Young is dipping into his archival stuff and releasing really nice records of shows from the ‘60s and ‘70s. Two months ago I listened to “Enter the Wu-tang” for the first time and I couldn’t stop listening to that for three days. (laughs)

CB = Do you have any favourite concert films or music documentaries?

MS = I liked one called “Last Days Here.” It’s about the guy from Pentagram. They were this young, promising, Sabbath sounding band in the early ‘70s. Now, he’s in his 60s living with his parents and he’s got a lot of problems. If you think of some people you know who’ve kept trying music for too long and then extend it over an entire lifetime into old age, that’s what this movie shows. There is a concert film I love, it’s Canadian, and called “This is What 110% Smells Like.” It’s about B.A. Johnston. He’s pretty much lived on tour in Canada almost constantly since around 2004. There’s a great Globe and Mail article calling him “the new Stompin’ Tom Connors.” We took a pay cut to play a show with him in Sudbury. We drove him to Toronto from Sudbury so that he could take the bus to Hamilton. More recently, B.A. made a TV show about Hamilton as a tour guide. I know it’s fictional, but I recently watched “Walk Hard: The Dewey Cox Story” and I loved it. I remember when “Walk the Line” the Johnny Cash movie came out I hated it, and felt lonely about it. I feel like “Walk Hard” makes fun of all the stuff that I hated about “Walk the Line” when it came out, and I thought, “wow, I’m not alone.” (laughs)

CB = Did the Meligrove Band play last year?

MS = Yeah, we played two songs at a Sloan tribute show. The band The Golden Dogs organized it. I asked if I could join them on bass for a couple of songs, and they came back and asked if the Meligroves would get back together to play. To my surprise everyone was immediately into it. We were just one small part of the show, but it felt really good.

[killprettymagazine]

An Excerpt From Our Interview With The Manx

To read the full interview pick up issue 5, a thing you can do by clicking this link! Wow! HTML!

Kill Pretty: Can you tell me how the band began?

TOMMY: Three of us were in this weird noise, grindcore scene in LA about 10 years ago playing in different bands. My band Razzle Blaster, Mykes band CO-OP, and Adam's band Oh Canada would all play these weird kinda DIY venues in LA like McWorld and The Cocaine. That's kinda how we all came to know each other. Those bands all broke up and we said, "Shit, let's hang out and start a new band together." We wanted to do something that wasn't so high concept because our previous projects we’re kinda larger than life ideas. So we said, "Let's just do folk-punk." Folk instruments. No amps no mics. Okay cool, this is simple, this is easy, we'll just show up at a park or behind a dumpster or at house party and play. That's how The Manx started. It started off as this throwaway thing.

KP: When did you decide on the name?

TOMMY: Our first mandolin player and I kinda started the band somewhere in 2010. He brought up “The Manx”. Myke and Adam and I just said, “Sure. We can be all Manxy…”  I don’t think we ever even tossed around any other options. That was the nature of the band at first. We kinda just went with the natural flow of things. It was a bit of a release actually not to have such a stranglehold over a project for once. The Manx started off as a kind of leisure project I think at least for Myke and I.

KP: When did you guys decide to go electric and get a drummer?

TOMMY: After about 3 years of being strictly acoustic we found ourselves just bashing our instruments to try and achieve the volume and intensity that we desired. So much so that Adam and I would actually be bleeding all over our instruments. I actually caught staph in my clawhammer hand once. So we started using amps at shows and that was kinda like the line that we had crossed which would allow us to start doing a bunch of new things. Like deciding on trying out a drummer.

MYKE:�� Tommy was always insisting that we get a drummer. I was like, "No! No drums! It adds all this gear to our band! That means we have to get amps! NO!"

TOMMY: Then we got Max in for a tryout and right away. Immediately at  the first practice everyone was like, "YEAH DRUMS!"

MAX: You guys had already started using amps before I joined. I met these guys the first night of a month long tour they were setting out on in 2013. I was like, "Whoa this is cool music." And that night Tommy and I had learned that we grew up in the same area and our old bands had played together in high school but we didn't know each other personally. They did their whole tour and I had been listening to their music since then and I was secretly learning their songs and making up drum parts to them. I was like, "Hey would you guys maybe want a drummer?" And Tommy was like, "Yeah let's try it!"

KP: So were there concepts happening already?

MYKE: Yes, I'd say so. Lyrically. We didn't have all the bubble machines and food coloring and stuff but we had a theme. Not sci-fi. A lot of creatures and monsters. Our own vernacular, our own language.

TOMMY: So at that point once we got Max we were like, "Okay now we need to do our first full length album," and we kind of made it a point to be avant garde and experimental going into that process. Let’s just do what the hell ever. Let's make it sound as weird as we can. Or at least not say no to things that people bring to the table. So everyone got together and spewed forth. We were like, "Cool, we'll use that, that, that," and we slapped it all together and that's our album. It was Voyage of Bad Taste.

MYKE: It had a high concept feel to it. The album didn't have a theme necessarily, the theme of the album was it was a hodge podge of ideas because it really was. We tried to get everything out. Conceptually it was us just having the experience of odd taste. We say "bad taste" but really it's a voyage through a lot of weird styles.

TOMMY: We all appreciate different things musically and artistically. Everyone has their distinct personalities. We put them all together. It's almost like the drink The Suicide, when you put all the sodas together in one cup. Or you take all the things out of the fridge and just put it into something. Adam is punk and emo?

ADAM: Yeah, punk and emo-screamo, but I also went to school for jazz and I've been playing classical upright bass. So that's my own hodge podge of different things.

MAX: Our influences are GWAR and The Locust, grind metal and folk stuff. There's definitely folk stuff that trails from the origins of The Manx that made it into that first full length. 

Wow! Insightful stuff! Read the rest of the interview in issue 5!