Jonah Tolchin's stellar debut has been on repeat around my house for weeks -- a collection of gritty folk protest songs, from a young man who is wise and talented beyond his years. In my review of the album I called these
...songs that feel as though they have always existed, but were only just pulled out of the ether. You've heard much of this before - it's Guthrie, Seeger, Nebraska and Steve Earle - but it's fresh when there's true passion, and Tolchin certainly has that.
That passion was front and center for Tolchin's recent Kitchen Sessions performance. This version of "Cold, Dark, American Dreams" smokes with spitfire vocals and Ethan Robbins' mandolin licks. For those of us who couldn't make it to this house show, the incredible videography work of Steve and crew is a godsend. Another beautiful video from Kitchen Sessions. This is a must-watch.
'Suddenly'- Swear and Shake One mighty fine, sadly sweet gem of a song. Website: http://swearandshake.com/
'Rotary'- Sam Moss A perfect song to daydream while listening to. Website: http://sammoss.net/
'Pain Love'- Typhoon Things that will improve any day: a new jam from Typhoon. Website: http://wearetyphoon.com/
'Child's Hand In Dirt'- Hip Hatchet Seriously- go get this album. It's perfect for rainy spring days and long, thinking nights. Website: http://hiphatchet.tumblr.com/
'Son of a Gun'- Brendan Losch A little bit of M.Ward, a little bit of Lord Huron and a whole lot of fantastic. One of the better songs I've heard the last few months. Website: http://brendanlosch.blogspot.com/
'Halls of Columbia (Live on KEXP)'- Pickwick We've been over this before, but it bears repeating: you should be very, very into Pickwick. Website: http://www.pickwickmusic.com/
Today brings another new track from Field Report - my pick for the next breakthrough artist of 2012. If there is one theme that is beginning to emerge from the tracks that have been released so far, it is new beginnings; emerging from the fog of apathy and hardship and finding the clarity to forge a promising new future. "I Am Not Waiting Anymore" is both a simple statement and a heartfelt promise. "Fergus Falls" is the one in which Chris Porterfield "miraculously pulls out of a free-fall dive". "Taking Alcatraz" covers similar thematic ground, using the story of Richard Oakes, who led the Native American occupation of Alcatraz, to reinforce the power of resolve. It's a haunting and beautiful track.
If we die there, at least we made the choice If we're fine there, we can tell the boys that A line in the sand don't matter if you don't care A bird in the hand is worthless if you're too scared
The band's self-titled debut is out in July, and I have no doubt that it will be one of the records of the year.
One of the things that I love about the Boston music scene is that it's big enough for lots of cool shit to be happening all the time, but small enough to feel like a community. Last Sunday was one of the days that really underscores that point. Sharing breakfast*, beer** and an intimate house show with half of my twitter feed is pretty fucking cool -- not to mention that later that night I had my mind blown for a second time by Alabama Shakes.
The folks behind Brewery Sessions have the right idea. Intimate events devoted equally to craft beer and music. Perfect. They teamed up with Music Savage to put on a special "Brunch Sessions" event, featuring homemade breakfast and cocktails, beer and performances from 2012 Newport Folkers Spirit Family Reunion and Summercult. It was a magical start to a flawless day. The crowd started out a bit reserved, but loosened up as the show went on - maybe it was the beer. By the end of Spirit Family Reunion's 45 minute set of bittersweet folk laments and ragged bluegrass stompers, the crowd was on its feet. Dancing, clapping, singing along and turning a swanky Southie loft into a wild barn party.
I left the show thinking two things. First, we need more Brewery Sessions. Second, Spirit Family Reunion is going to absolutely kick ass at Newport this summer. If this is your first exposure to the band, get to know them now and be ahead of the curve. I have a feeling they're going be a lot more well known after their debut album comes out this summer. If you dig Trampled By Turtles, you'll find a lot to love with Spirit Family Reunion.
Here is the entire house concert, documented in true Alan Lomax style for your listening pleasure. Enjoy and please support the band by going to their shows, buying their merch and telling your friends.
You'll be hard-pressed to find a review of Alabama Shakes that doesn't refer to them as a buzzband. And I suppose at this point, that's hard to dispute - they're fucking everywhere. But, I perceive "buzz band" as a derogatory term implying unfounded hype, a popularity bubble due to burst at any moment. That is not Alabama Shakes. As meteoric as their rise has been, I honestly believe it's built on merit. I saw this coming the first time I heard their self-titled EP (my favorite of last year). Bob Lefsetz can spout as much bullshit as he wants about them not paying their dues and needing a producer. He may even be right, but when it comes down to it, their songs move people and they deliver them with passion, grit and intensity that 99% of bands just do not possess. I see no problem with that.
The first time I was aware that Alabama Shakes were playing Boston was October of last year, opening for North Mississippi All-Stars. The same night as The Low Anthem's big Somerville Theater show. I chose The Low Anthem, a regrettable choice for many reasons. Since that time I've anxiously awaited the Shakes' return to Boston - hearing breathless, gushing reports of their live show - hoping they would still be playing clubs by the time they finally made it to Boston. Sunday night I got to experience the spectacle first-hand, and it didn't disappoint.
The band took the stage to a thunderous ovation - opening the set with the slow and restrained "Goin' To The Party" which kept a lid on the energy in the room. Pressure gradually built until the band launched into "Hold On", kicking off a four-pack of songs that nearly blew the damn roof off of the Paradise. "Hang Loose" dumped the clutch and jammed it into 5th and "I Found You smoldered with intensity until exploding into its pounding, Muscle Shoals-channeling finish. "Always Alright" started slow and, again, built up to a thunderous finish, which caused the sold out crowd to absolutely lose their shit. An extended, absolutely deafening roar erupted causing Brittany Howard to wonder out loud "What the fuck just happened?". You just turned 900+ people into true believers, Brittany, that's what.
From there, the band shows that they know how to pace a show. Slowing things down and showing their bluesy side with "Boys & Girls", "Be Mine" and "Worry'n Blues" before slowly building back up to a raucous finish. What impressed me throughout the night was how the band competently held down their parts, but never once tried to upstage their frontwoman - clearly the star of the show. Brittany Howard lays it on the line. She sings every word like it's the last time she'll ever sing, wringing every bit of emotion out of her voice and her guitar strings. And that voice is otherworldly; at one moment taking on a raspy growl that recalls Otis Redding and at the next moment it's as soft and sweet as Carla Thomas. She doesn't go through the motions, she performs like her life depends on it -- and the crowd certainly acknowledged the effort. It was probably the loudest crowd I've ever seen at a club show. Brittany agreed -- calling us "the loudest crowd [she] ever met".
As the night wore on, quintessential lighter-in-air song "You Ain't Alone" segued into the rockabilly barnburner b-side "Heavy Chevy" to close the main set. Unlike most shows where the encore break marks an exodus of casual fans, no one left. Everyone clapped and stomped and screamed for what felt like an eternity. They made us work for more, and we were happy to oblige. If there was no encore, I would have left happy. A four-song encore "I Ain't The Same", "On Your Way", "Heat Lightning" and brilliant cover of Led Zeppelin's "How Many More Times" was just gravy.
To see Alabama Shakes live is to believe in the buzz. They will convert you. They will knock you on your ass. If you see this band and don't believe in the power of rock n' roll, check your pulse. This was one of the greatest shows I've ever seen.
Complete live recording from the show is below. I taped from the balcony, stage-right -- the sound is warm, live and really captures the electricity in the room that night. It is (in my opinion) an incredibly enjoyable listen. Enjoy, and if you do, please support Alabama Shakes by buying their album and seeing them live.
Alabama Shakes Paradise Rock Club - Boston MA April 15, 2012
'I Don't Know Where I Was Going With This'- Canasta It's not often an opener can silence a hyped up crowd, though it's not often the opener comes armed with a song like this. (website)
'Blue Buildings'- Aunt Martha This is the aural equivalent of the golden hour. (website)
'The Lowlands'- Fort Frances A short, sweet and altogether gorgeous little tune. (website)
'Beacon Hill (Damien Jurado cover)'- The Head and The Heart Scott just did a piece on Damien Jurado covers- think of this as a bonus track. (website)
'Over the Hill (John Martyn cover for YoursTru.ly)'- Michael Kiwanuka, Ben Howard, Ben Lovett, The Staves and members of Bear's Den This is just ridiculous. (website)
Now into the tail end of their 2012 North American tour with This is The Kit – one which included a showing at the hugely cool SXSW in Austin, TX – Montreal based Plants and Animals played TT The Bear’s Place on April 4th.
While Plants and Animals seems to have a concentrated, almost cultish following in the US, to say that their fan base is more opinionated than loyal would be appropriate. The band’s latest release, The End of That (Secret City Records), has received not only mixed, but astonishingly polarized reviews. If your cult fans' vocal comparison to and craving for past successes won’t meet your label’s press quota, fickle, picky, and needling bloggers will do the trick.
Case in Point: Pitchfork’s Ian Cohen gave The End a 5 out of 10, which is low by their standards, describing the Canadian trio’s third LP as “totally sincere and totally awkward,” at best, while suggesting that melodically, lyrically, and thematically, the songwriting confused “a bummy hangover with a full-blown existential crisis.” Does Cohen make a point? Yep.
Nevertheless, there is a contingent of new fans and old fans alike who not only find it palatable, but -- shockingly -- enjoy The End. “Don’t believe Pitchfork,” one Rdio member wrote, others jumping in to eagerly compare the sound to Tom Petty and Neil Young, artists who hardly call to mind a word like “awkward.”
My take? The End is about growing up. You know, that pesky thing you’re told resolves, or stops, when you graduate college and get a job, therein making you a prime, stable candidate for marriage and mortgages? Yeah. That. Growing up is a constant crisis if you’re anything like me, and it’s infinitely awkward. It’s also a lot of fun. In that sense, Pitchfork’s Cohen and Rdio based fans are both correct.
To see the trio – accompanied by a bass player at TT’s – live, is something strange and subtle. Equal parts history lesson and confessional, it is easy to identify the comfort and ease with which Warren Spicer, Nic Basque, and Matthew Woodley perform together. Honed over many miles and with countless hours in practice, the band has been together for ten years, having started as an instrumental group. Two LPs and two EPs under their belt prior to The End of That, 2008’s Parc Avenue was nominated for Canada’s prestigious Polaris Prize, as well as for a Juno. Vacillating from Fleet Foxes soft to Deer Tick gritty, the popular album found the group opening for the likes of Grizzly Bear, Broken Bells, and The National. The bar was set and set high. Fans and critics alike certainly haven’t forgotten that. 2010’s La La Land was coarser, chalk full of aimless resentment, doubt, and high octane anger. Given these two, earlier LPs, the character of The End of That is predictable.
Spinner cited frontman Spicer as “devastatingly handsome,” and I’d argue that the description applies to far more than a jaw line that warns of trouble and a voice that confirms that it’s too late. The End is a smug album. It worries like a 20-something, it aches like a single, child-less 30-something begging the question: “Is this really all there is?” and it jokes like an innocent kid. But it does so with a strong drink in hand, leaning against a bar, donning an offensively deep-V shirt, if not a gratuitous pair of sunglasses. It is, in a way, devastatingly handsome. These are hardly nuanced observations. They are literal. In an email to NPR, Plants and Animals described the album as “a late-night confessional, a catch up with an old friend over a beer. We went for the straight line... musically and lyrically.“ Duh.
That said, what 26 year-old can criticize the creative manifestation of a crisis? I certainly cannot. The Plants and Animals protagonist is trying to decide which way is up, what things are right, why adulthood is so damn heavy, what makes them feel good, and moreover "feel good” as it regards the balance of consequence and sustainability. That’s relatable. That's a mature admission of doubt, to me. And that’s what makes The End of That enjoyable.
The first single, “Lightshow,” is catchy, but falls short in comparison to the title track, which comes to life in the band’s Engelbert Humperdinck inspired music video. The opener, “Before,” brings back Parc Avenue’s softer moments, and I’m a sucker for softer moments. “Song For Love” and “No Idea” fit right in with Dr. Dog’s 2010 Shame, Shame. Check them out.
Live, these guys feel more like a jam band than I like to admit. (Here’s the thing: Unapologetically, I cannot stand jam bands.) Songs went on for too long in combinations which, in my opinion, got confusing, if not slightly chaotic. Once settled in, however, there were strokes of brilliance. ACDC, The Beatles, and some unnamed distant cousin of metal all came to mind at least once. Spicer’s voice is pristine and powerful, Basque is amazingly fun to watch on lead guitar, and Woodley played an excellent directors-like role from his seat. Any listed qualms are more personal taste than execution. The audience had a blast. Without question, Plants and Animals knows what they are doing on a stage, even if they’re not quite sure what they want to be when they grow up.
Recorded over two weeks at La Frette Studios outside of Paris with renowned engineer Lionel Darenne (Feist), The End of That is worth a listen. Above all, it suggests that Plants and Animals is collectively and personally frustrated by their growing pains, but not so much that they cannot spare a laugh or a round of drinks at their own expense. If you’re going to struggle – and we all do – you might as well do so honestly, deeply, and with a touch of humor. Though Pitchfork may have thrown the first (and certainly not the last) stone, the glass house proverb is well understood. Growing up sucks. Music helps. Maybe that’s the beginning and the end of that debate.
* * *
It is worth a word or two about the opener, This is The Kit. UK-born, Paris-based Kate Stables played a short set reminiscent of Laura Marling, Alana Davis, or a stripped down, grungy Lucinda Williams. Having shared the bill with artists like Jose Gonzales, Alexi Murdoch, and Jolie Holland, her sound is hauntingly raw. Check out her album Wriggle Out the Restless on Brassland, and watch for a new album with Aaron Dessner of The National in 2013.
Covers are a difficult thing to do well. The best pay tribute to an artist's work while making putting a unique stamp on it. But even with the best of intentions, it can go wrong for a variety of reasons - too close to the original, too drastic of a stylistic change or just a poor song choice. Here are four that I think got it right - great song, great performance:
'Hymn #76'- Joe Pug There's not a more underrated songwriter today than Joe Pug. This song is a masterpiece. (website)
'Sprawl II (Mountains Beyond Mountains)' (Arcade Fire Cover)- Hey Ocean! feat Aidan Knight & the Friendly Friends The one thing that always bugged me about the original was the ABBA vibe to it. This removes that. I like this a bit better. (website)
'Faithful Man (for YoursTru.ly)'- Lee Fields & The Expressions Whoa. Just...whoa. (website)
'Eighth Avenue'- Hospitality A breezy tune that's perfect to daydream to. (website)
Tuesday, May 1, 2012 at 7:36AM 
