This may be the coolest and weirdest venue I've ever been to in my life. Actually (for those of you who grew up in Northern Virginia), it reminded me a lot of Planet NOVA in that it was tiny, quirky, and where everyone who was ANYONE would go see random local bands get their start. The place had no sign on the outside, so we weren't even sure we were where we were supposed to be, but with the amount of people walking in and the loudness that ensued when the door opened, we took our chances. Apparently, the place used to be an old art warehouse (albeit, a small one), and there is still some really bizarre art hanging on the walls and from the ceiling. All of it just made for an interesting ambiance--a perfect place for a local show.
They actually have a decent sound system there. In a place that small, you wouldn't expect any huge technical advances, but their PA system delivers a fairly even sound, and a very LOUD one, at that. They also have a projector, but it was out of commission when we were there. There are a few couches dispersed throughout the room(s), and there is a loft in the back of the room with the main stage. I would absolutely go there again, if for no other reason than to just sit in the back and watch the scene. It was a good people-watching night.
As far as the music, it was impressive. The first band we heard was called Cast Upon Alcott, and their set was definitely good. What stood out to me about them was that they definitely had a great feel for rhythm. I love it when bands get experimental with time signatures--it keeps everyone guessing and shows musicianship. Their lead singer is a screamer, and he does that very well. I just wish he would sing every now and then also. While I applaud anyone who can scream like that (especially without ruining their voice), melody is very important to me. During their set, there were some parent-types taking pictures, which makes me think that some (or all) of them are on the younger side. It's great that they're getting this kind of experience now--the earlier the better. Remember the movie High Fidelity? Their sound is very similar to those punk skater kids John Cusack ends up producing for. Vince & Justin, I believe. Someone broke a guitar string at the end, so they were unable to play their last song, but a solid set, anyway.
Next came The Sunsets Before He Died, who claimed this was their first show ever. Mike from Skyrise to Martus confirmed that as being true. I was shocked. They were actually VERY well polished for that being their inagural performance. I have to admit that the specifics are a little lost right now--I should mention the fact that this show was on a Friday, which meant that I was up at 0330 for work, did not sleep during the day, and it was already 11pm. I wrote some things down, but looking at it now, it doesn't make a whole lot of sense. Not my best research! They did do a cover song that I didn't recognize, but that everyone loved. Everyone was on their feet, dancing, and the band seemed to really enjoy playing it. There's no feeling like your first show--I hope to see them again so I can actually have some coherent thoughts about it. I sure liked what I heard.
Skyrise to Martus came on next, and since that's who we were there to see, we made our way up to the front. Because there was no actual stage, I was standing right in Mike's face and probably nearly got pelted with a bass a few times. It was nice to be right there--everything sounds different from way up close like that. It was cool to hear them again, this time knowing more of their material. As usual, they put out an excellent set--shorter than the last one, I think--and I maintain my opinion that they have something special about them. They have the potential to go a long way if they stay together and if they want to go for it. From my angle, I got to watch the drummer, Joshua, a little more, and I'm even more impressed than I was the other night. He has an incredible ear for rhythm and is able to pull out some really varied and unique moves on a fairly small kit. He's also extremely energetic (which is always fun to watch), and probably loses 5 lbs. durinig every show. My only complaint was that I couldn't hear the vocals that well. It could have been where I was standing--I was not in the direct line of the PA speakers, and I was kind of getting this weird mix of reverb and floor monitor sound. It's a shame, because I think they are vocally very strong. As I said before, Ryan has a powerful belt in him, and Mike sings some good harmonies--he should really be more assertive with them.
We left after their set (if we hadn't, I would have curled up right there in the corner and passed out), but I'm glad we went. We got to see an interesting place, that we'll hopefully revisit... and I think we've officially become skyrise to Martus groupies. It's probably going to be a while before we get out to any more shows, but my ears can probably use the break. It'll be nice to delve into some albums for a little bit. Any suggestions--send 'em my way.
Monday, April 2, 2007
Wednesday, March 28, 2007
Rockapella, 22 March 2007 (Strathmore Music Center, Bethesda, MD)
I was lucky to be in town visiting my parents when I was, because Rockapella happened to be singing in the area, and it's been over a year since I last saw them. They have been such an inspiration to me, both musically and personally, that I really try to see them and support them whenever I can. I'm glad I had the chance--the show was phenomenal, as expected.
First of all, a note about the Strathmore. They started building it in 2005, right about when I first bought my condo in nearby Rockville. I knew it was going to be a fine arts center, but it turned out to be one of the nicest halls I've ever been in. It's not terribly huge--it holds about 2000, but the architechture and the interior are both amazing. The acoustics in the concert hall were unparalleled, and for a Rockapella show, acoustics are key. Granted, I was sitting in about the 10th row, but my parents, who were significantly further back than me, said that they could hear everything as clearly as if they were in the front. I wish I'd had more opportunities to go to the Strathmore when I lived there--I would love to see a full symphony orchestra perform there. I imagine it would blow the crowd right out of the room.
Anyway, back to Rockapella. As their name suggests, they are a vocal group--as in no instruments, drums, or drum machines. A cappella music is a truly unique art, and it's not for everyone. That being said, I think Rockapella does an amazing job of performing a variety of styles. There's something for everyone in their music. Plus, I think it would be impossible to see what they do in person and not be impressed. Jeff Thatcher, their vocal percussionist is an act completely on his own. You may have also heard them, even if you don't realize you have. If you remember the children's game show "Where in the World is Carmen Sandiego?" from the early '90s, then you will remember Rockapella performing the theme song (and random skits) during every episode. They also recorded a very famous Folger's Coffee commercial in the late '90s, which got a lot of radio airplay and was even on TV for a while. Their lineup has changed, but the concept remains.
They opened the show with a few of their newer songs, which, to my knowledge, have not been recorded in the studio yet. I don't know the names of them, but I can tell you they are much more upbeat and rock-like than most of the stuff they've been doing lately. Their new(ish) baritone, John Brown, is a dancer and a motown fanatic. His influence is immediately apparent in these newer songs, and I love it. I've never seen these guys have so much energy and get so funky on stage. I wish I knew the songs better, but they sure are giving off great vibes. I can't wait until they can get in the studio for a bit.
They showcased some new material, but also pulled some great ones out of the vault for us. I was thrilled to hear "People Change," as it's not one they do very often. I still think Scott Leonard has possibly the most incredible voice I've ever heard, and he oozes with emotion every time he sings that one. George showed off his butter-like bass smoothness in his rendition of "Papa Was a Rolling Stone," which always gets the crowd excited, and we got to hear John belt out a beautiful version of "Stand By Me." Kevin's shining moment was in a beautiful new ballad called "California Sad Eyed Girl," and then they followed that with "Lazy River," another one that rarely comes out on stage. We got an off-mic treat at the end, and with the acoustics in that hall, they were every bit as audible as they were with microphones--even at one point when Scott turned around to face the people sitting behind the stage. They encored with "Zombie Jamboree," which still, to this day, makes me laugh.
The crowd was a mix of fans and season ticket holders--and they had mixed opinions about the show. Most everything I heard was positive, though, and I believe Rockapella will be performing at the Strathmore in the future. I stuck around afterwards just to say hi, as it's nice to chat for a few minutes after not seeing them for so long. They told me they'd be out in Colorado sometime this summer, so I'll be looking forward to that. If you ever get the chance, you should definitely see them. Even if you're not into the music, you can't deny the talent.
First of all, a note about the Strathmore. They started building it in 2005, right about when I first bought my condo in nearby Rockville. I knew it was going to be a fine arts center, but it turned out to be one of the nicest halls I've ever been in. It's not terribly huge--it holds about 2000, but the architechture and the interior are both amazing. The acoustics in the concert hall were unparalleled, and for a Rockapella show, acoustics are key. Granted, I was sitting in about the 10th row, but my parents, who were significantly further back than me, said that they could hear everything as clearly as if they were in the front. I wish I'd had more opportunities to go to the Strathmore when I lived there--I would love to see a full symphony orchestra perform there. I imagine it would blow the crowd right out of the room.
Anyway, back to Rockapella. As their name suggests, they are a vocal group--as in no instruments, drums, or drum machines. A cappella music is a truly unique art, and it's not for everyone. That being said, I think Rockapella does an amazing job of performing a variety of styles. There's something for everyone in their music. Plus, I think it would be impossible to see what they do in person and not be impressed. Jeff Thatcher, their vocal percussionist is an act completely on his own. You may have also heard them, even if you don't realize you have. If you remember the children's game show "Where in the World is Carmen Sandiego?" from the early '90s, then you will remember Rockapella performing the theme song (and random skits) during every episode. They also recorded a very famous Folger's Coffee commercial in the late '90s, which got a lot of radio airplay and was even on TV for a while. Their lineup has changed, but the concept remains.
They opened the show with a few of their newer songs, which, to my knowledge, have not been recorded in the studio yet. I don't know the names of them, but I can tell you they are much more upbeat and rock-like than most of the stuff they've been doing lately. Their new(ish) baritone, John Brown, is a dancer and a motown fanatic. His influence is immediately apparent in these newer songs, and I love it. I've never seen these guys have so much energy and get so funky on stage. I wish I knew the songs better, but they sure are giving off great vibes. I can't wait until they can get in the studio for a bit.
They showcased some new material, but also pulled some great ones out of the vault for us. I was thrilled to hear "People Change," as it's not one they do very often. I still think Scott Leonard has possibly the most incredible voice I've ever heard, and he oozes with emotion every time he sings that one. George showed off his butter-like bass smoothness in his rendition of "Papa Was a Rolling Stone," which always gets the crowd excited, and we got to hear John belt out a beautiful version of "Stand By Me." Kevin's shining moment was in a beautiful new ballad called "California Sad Eyed Girl," and then they followed that with "Lazy River," another one that rarely comes out on stage. We got an off-mic treat at the end, and with the acoustics in that hall, they were every bit as audible as they were with microphones--even at one point when Scott turned around to face the people sitting behind the stage. They encored with "Zombie Jamboree," which still, to this day, makes me laugh.
The crowd was a mix of fans and season ticket holders--and they had mixed opinions about the show. Most everything I heard was positive, though, and I believe Rockapella will be performing at the Strathmore in the future. I stuck around afterwards just to say hi, as it's nice to chat for a few minutes after not seeing them for so long. They told me they'd be out in Colorado sometime this summer, so I'll be looking forward to that. If you ever get the chance, you should definitely see them. Even if you're not into the music, you can't deny the talent.
Saturday, March 24, 2007
Iliff Park Saloon, 18 March 2007 (Aurora, CO)
We had planned to go to this show a week or two ago when we heard that a local Denver band called Random Hero would be playing. We'd listened to their stuff online and were really impressed. They actually remind me of a band from back in DC called Waking State. I'm alway curious about bands who have female lead singers--I guess it's cool to see girls out there being successful at something I honestly didn't have the guts to go through with. Anyway, we wanted to see if what we heard on recording was as good in person.
The night ended up being completely different than we were shooting for, but in a great way. First of all, the venue itself is adorable. It's kind of a hole-in-the-wall, but they've got pool tables and a fully stocked bar. I also happened to notice that they host both beer pong tournaments and buzz-in trivia nights. It seems to be a pretty well-known place among the local crowd--the walls were donned with photos of karaoke contests and tons of flyers for various bands. The stage area was bigger than I would have expected from a place like that--a band could get a real good setup going there if they wanted to.
We got there insanely early (we were told 6pm, so we were there RIGHT on time), as we did not realize there would be six bands and that Random Hero would be the last band to play (putting them on stage around 11pm or so). We figured we'd shoot a few games of pool, see if anyone was worth listening to, and take off pretty shortly. When the first guy started playing, we stayed pretty firm in our decision. It's not that he was bad or anything--I admire anyone who has the courage to write a bunch of stuff and then go perform it in front of any people, even if it's just two randoms playing pool who aren't really paying attention. I wish I could remember his name, but I can't for the life of me. Whatever works--I hope he keeps writing, and I hope he continues to get out there and sing. No one should be denied the opportunity to share music.
Next was a real treat. A group called Skyrise to Martus came on and completely defied our expectations. My first observation was how much energy they had, despite the small crowd. They were obviously playing for their own benefit, and to be honest, I think that makes music come across much more genuinely. I think there is always a time and a place to work the crowd, but there's nothing better than watching a band who so clearly just loves doing what they're doing. The music itself was also pretty darn impressive--they show definite musical talent in every song they perform.
Ryan, who does the lead vocals, has a powerful belt and seems to never miss a note. They've put together some nice harmonies in a couple of the songs, which I think is one of the marks of a quality group. Luis does most of the lead guitar work (although Ryan does a little bit also) and has incredible technical ability. He also very clearly has the ear for knowing when to go on a rant and when to blend, which helps the group stay versatile as they move from song to song. All of this combined with Mike's excellent bass tone--it's a little bit higher than I'm used to hearing, which makes it come out a little stronger--and Joshua's fast and furious drumming makes for a great show both on an entertainment and a technical level.
My favorite song they played is called "Red Light Tragedy" and it is up on their MySpace page
(www.myspace.com/skyrisetomartus). I definitely suggest you check it out--it is definitely the anthem of their set, and although they didn't end with it, they probably should. They could really bring the house down. They are playing again this Friday and I'm extremely excited to see them again, this time armed with having listened to their music more and actually knowing it. I want to see them do well--they just have enormous potential.
The next band that came out was Ashfield. While they also clearly have talent, I just was not as blown away by their creativity. It sounded to me like they took the approach of trying to write a bunch of singles. While that could be a good goal, in their case, it caused every song they played to sound very similar to the one before it. I considered asking them for their setlist from the night, but the most I thought about it, the more I realized that it wouldn't make a difference--everything has already blended together in my head and may as well have been one song. Again, I'm not discounting their talent at all, I just would like to see them push it a little more--not be afraid to experiment. Maybe it's simply a result of me not knowing their music well enough, and perhaps I'll feel differently about it the next time I see them. I also was probably reeling a bit from being so pleasantly surprised at the band before them.
The last band we stuck around for (it was getting very late) was Asylum Cinema. I knew it was going to be an extremely interesting set as I watched them set up. As the tenor sax, violin, and bongo drums appeared, I started bracing myself for what was to come. Now, this is a band that's got style. They successfully fuse reggae with electronic with classical with hard rock. I've honestly never heard anything like it before. Their collective energy probably radiated outside the building, and their talent absolutely surpasses most local bands I've seen in any city. Every single member of the band is a complete powerhouse. If you want to hear a guy who can belt out with beautiful tone and perfectly in tune, but then deliver a powerful scream the next minute... or watch a guy display fabulous classical training on both piano and violin, and then pull out the most vicious funk on a 5 string bass... or see a bassist with lightning fast fingers who can also rival Flea and Mike Gordon with his slapping ability... or just hear some serious epic breakdowns (yes, that is plural)... then this is a band for you. Even though I took a ton of notes during their set, I'm actually having trouble writing about it. I almost feel like you need to just hear it for yourself. They have a page at www.myspace.com/asylumcinema and it is definitely worth checking out.
So what was going to be a low-key night actually turned into a night of exciting finds. I'm looking forward to seeing all three bands again at some point, hopefully sooner rather than later. I'll definitely go back to the Iliff Park Saloon, even if just to have a drink and shoot some pool. I want to thank the guys from Skyrise to Martus for hanging out and just generally being nice and fun people, and thanks to everyone for the music. Good night, and till next time.
The night ended up being completely different than we were shooting for, but in a great way. First of all, the venue itself is adorable. It's kind of a hole-in-the-wall, but they've got pool tables and a fully stocked bar. I also happened to notice that they host both beer pong tournaments and buzz-in trivia nights. It seems to be a pretty well-known place among the local crowd--the walls were donned with photos of karaoke contests and tons of flyers for various bands. The stage area was bigger than I would have expected from a place like that--a band could get a real good setup going there if they wanted to.
We got there insanely early (we were told 6pm, so we were there RIGHT on time), as we did not realize there would be six bands and that Random Hero would be the last band to play (putting them on stage around 11pm or so). We figured we'd shoot a few games of pool, see if anyone was worth listening to, and take off pretty shortly. When the first guy started playing, we stayed pretty firm in our decision. It's not that he was bad or anything--I admire anyone who has the courage to write a bunch of stuff and then go perform it in front of any people, even if it's just two randoms playing pool who aren't really paying attention. I wish I could remember his name, but I can't for the life of me. Whatever works--I hope he keeps writing, and I hope he continues to get out there and sing. No one should be denied the opportunity to share music.
Next was a real treat. A group called Skyrise to Martus came on and completely defied our expectations. My first observation was how much energy they had, despite the small crowd. They were obviously playing for their own benefit, and to be honest, I think that makes music come across much more genuinely. I think there is always a time and a place to work the crowd, but there's nothing better than watching a band who so clearly just loves doing what they're doing. The music itself was also pretty darn impressive--they show definite musical talent in every song they perform.
Ryan, who does the lead vocals, has a powerful belt and seems to never miss a note. They've put together some nice harmonies in a couple of the songs, which I think is one of the marks of a quality group. Luis does most of the lead guitar work (although Ryan does a little bit also) and has incredible technical ability. He also very clearly has the ear for knowing when to go on a rant and when to blend, which helps the group stay versatile as they move from song to song. All of this combined with Mike's excellent bass tone--it's a little bit higher than I'm used to hearing, which makes it come out a little stronger--and Joshua's fast and furious drumming makes for a great show both on an entertainment and a technical level.
My favorite song they played is called "Red Light Tragedy" and it is up on their MySpace page
(www.myspace.com/skyrisetomartus). I definitely suggest you check it out--it is definitely the anthem of their set, and although they didn't end with it, they probably should. They could really bring the house down. They are playing again this Friday and I'm extremely excited to see them again, this time armed with having listened to their music more and actually knowing it. I want to see them do well--they just have enormous potential.
The next band that came out was Ashfield. While they also clearly have talent, I just was not as blown away by their creativity. It sounded to me like they took the approach of trying to write a bunch of singles. While that could be a good goal, in their case, it caused every song they played to sound very similar to the one before it. I considered asking them for their setlist from the night, but the most I thought about it, the more I realized that it wouldn't make a difference--everything has already blended together in my head and may as well have been one song. Again, I'm not discounting their talent at all, I just would like to see them push it a little more--not be afraid to experiment. Maybe it's simply a result of me not knowing their music well enough, and perhaps I'll feel differently about it the next time I see them. I also was probably reeling a bit from being so pleasantly surprised at the band before them.
The last band we stuck around for (it was getting very late) was Asylum Cinema. I knew it was going to be an extremely interesting set as I watched them set up. As the tenor sax, violin, and bongo drums appeared, I started bracing myself for what was to come. Now, this is a band that's got style. They successfully fuse reggae with electronic with classical with hard rock. I've honestly never heard anything like it before. Their collective energy probably radiated outside the building, and their talent absolutely surpasses most local bands I've seen in any city. Every single member of the band is a complete powerhouse. If you want to hear a guy who can belt out with beautiful tone and perfectly in tune, but then deliver a powerful scream the next minute... or watch a guy display fabulous classical training on both piano and violin, and then pull out the most vicious funk on a 5 string bass... or see a bassist with lightning fast fingers who can also rival Flea and Mike Gordon with his slapping ability... or just hear some serious epic breakdowns (yes, that is plural)... then this is a band for you. Even though I took a ton of notes during their set, I'm actually having trouble writing about it. I almost feel like you need to just hear it for yourself. They have a page at www.myspace.com/asylumcinema and it is definitely worth checking out.
So what was going to be a low-key night actually turned into a night of exciting finds. I'm looking forward to seeing all three bands again at some point, hopefully sooner rather than later. I'll definitely go back to the Iliff Park Saloon, even if just to have a drink and shoot some pool. I want to thank the guys from Skyrise to Martus for hanging out and just generally being nice and fun people, and thanks to everyone for the music. Good night, and till next time.
Saturday, March 17, 2007
CD Review: The Alternate Routes--Good and Reckless and True (Vanguard Records, released 6 February 2007)
Thanks to the recommendation from my friend, Will, I have had the pleasure listening to this brand new debut album for the past few days. My overall impression is that it's good--not GREAT--but definitely good. With this being their first album, I think they still have some searching to do and some experience to gain before they find their true style, but with that being said, I know this will definitely make a positive impression on the general public, and hopefully they'll be able to keep recording for a long time.
I think there's a good mix of songs on here--some upbeat, some slower and more bluesy. Any band that shows variety also shows promise. They are able to pull of every style they attempt (I especially love the touch of the piano on "The Black and the White"), I just wish they had done it without their influences being so obvious. For example, "Who Cares?" is the song that would come out of a collaboration between Guster and The Killers. It's one of my favorite tracks, but I also really enjoyed The Killers' first album and pretty much everything Guster's done, so maybe that's why. Even though "The Black and the White" completely stood out from the rest of the songs with its lilting piano part, it's still a little too Billy-Joel-meets-Ben-Folds for me to be impressed with its originality.
On the upside, these guys do have tremendous talent. The lead track of the album, "Ordinary," is the best example of their potential. The first three-quarters of the song is fairly straightforward, but then lead singer Tim Warren pulls some amazing belting lines out of nowhere while lead guitarist Eric Donnelly gets in some simple, yet surprising riffs. It doesn't shock me much that this is the song that's been released as a single and is now hitting radio stations. If the whole album were more like the end of "Ordinary," then this would be an absolutely dynamite debut.
Lyrically, they're different. They have some interesting ideas that make you ponder. Some of the phrases are hard to connect, but again, they show promise. Thank goodness they are not trite and dry like so much of what's out there lately.
I have to wonder something. The Alternate Routes are not the first band to sign with Vanguard records and produce an album of prisitne recording quality, but that at the same time lacks "punch." Just like in Carbon Leaf's case, I know The Alternate Routes have the talent to be a great cutting-edge band. Maybe they played it safe because it's their first full-length try, but maybe Vanguard Records encourages bands to slide into the mainstream. Hard to say.
I think we're going to see a lot more from them in the near future, and I've heard that they put on quite a live show. Right now, they're touring mostly in the Northeast (Connecticut is their home), but based on the response from the album release, they'll graduate to national tours in no time.
I want to hear more. I want to see them take some risks and whip out something awesome. I know they can do it--I'll be waiting.
Check them out at www.thealternateroutes.com
Track Listing:
1. Ordinary
2. Who Cares?
3. Hollywood
4. Aftermath
5. Going Home With You
6. Time is a Runaway
7. Endless Conversation
8. California
9. Are You Lonely?
10. The Black and the White
11. Please Don't Let it Be
I think there's a good mix of songs on here--some upbeat, some slower and more bluesy. Any band that shows variety also shows promise. They are able to pull of every style they attempt (I especially love the touch of the piano on "The Black and the White"), I just wish they had done it without their influences being so obvious. For example, "Who Cares?" is the song that would come out of a collaboration between Guster and The Killers. It's one of my favorite tracks, but I also really enjoyed The Killers' first album and pretty much everything Guster's done, so maybe that's why. Even though "The Black and the White" completely stood out from the rest of the songs with its lilting piano part, it's still a little too Billy-Joel-meets-Ben-Folds for me to be impressed with its originality.
On the upside, these guys do have tremendous talent. The lead track of the album, "Ordinary," is the best example of their potential. The first three-quarters of the song is fairly straightforward, but then lead singer Tim Warren pulls some amazing belting lines out of nowhere while lead guitarist Eric Donnelly gets in some simple, yet surprising riffs. It doesn't shock me much that this is the song that's been released as a single and is now hitting radio stations. If the whole album were more like the end of "Ordinary," then this would be an absolutely dynamite debut.
Lyrically, they're different. They have some interesting ideas that make you ponder. Some of the phrases are hard to connect, but again, they show promise. Thank goodness they are not trite and dry like so much of what's out there lately.
I have to wonder something. The Alternate Routes are not the first band to sign with Vanguard records and produce an album of prisitne recording quality, but that at the same time lacks "punch." Just like in Carbon Leaf's case, I know The Alternate Routes have the talent to be a great cutting-edge band. Maybe they played it safe because it's their first full-length try, but maybe Vanguard Records encourages bands to slide into the mainstream. Hard to say.
I think we're going to see a lot more from them in the near future, and I've heard that they put on quite a live show. Right now, they're touring mostly in the Northeast (Connecticut is their home), but based on the response from the album release, they'll graduate to national tours in no time.
I want to hear more. I want to see them take some risks and whip out something awesome. I know they can do it--I'll be waiting.
Check them out at www.thealternateroutes.com
Track Listing:
1. Ordinary
2. Who Cares?
3. Hollywood
4. Aftermath
5. Going Home With You
6. Time is a Runaway
7. Endless Conversation
8. California
9. Are You Lonely?
10. The Black and the White
11. Please Don't Let it Be
Thursday, March 15, 2007
Book Review: This is Your Brain on Music, by Daniel J. Levitin (August 2006, Penguin Publishing Group)
Wow, what an interesting read. Thanks to my friend, Stefanie, who suggested I read this.
Obviously, I have a connection with music that is uncommon. There are a lot of people out there who like music, but there are relatively few of us who hear it on such a multi-sensory level. Daniel Levitin does an amazing job of verbalizing what it's like to hear music the way I do.
The great thing about this book, is that it not only describes the biology behind the bizarre emotional connection between humans and music, it also gives a pretty decent run-down of all the music theory basics the average person would ever want to know. It's basically Neuroscience 101 smashed together with a Music Theory for Non-musicians class. There is a lot of technical jargon in spots, but Levitin is careful to explain any terms he uses. He even criticizes the snobbery of the music world and denounces those who speak only in terms that other musicians (and possibly music critics) would understand.
He draws on examples from all genres--Beethoven to Led Zeppelin--to explain why certain individuals like certain styles, how we are able to remember so many different songs, why we are a lot more musical than we give ourselves credit for, and which parts of the brain are stimulated while listening to various types of music. All of his references to different artists and different pieces encourages the reader to go out and listen to anything they are unfamiliar with.
I definitely recommend this book to anyone who loves music. I feel like music is one of those things we take for granted sometimes--as if our understanding of everything musical just magically happens. We may love or hate whatever we are listening to, but regardless, something absolutely astounding is happening inside the brain when any sort of music is playing. Rolling Stone Magazine just recently did a big article about this book, in which they actually showed brain scans of people listening to different songs. We've all heard about right-brained and left-brained people and the characteristics of each. I never realized that music truly is "all-brained."
As one who is about to begin a rigorous masters program in a subject that is an off-shoot of psychology, and as one who cannot live without music, I wonder after reading this book if there is something I can do down the road that connects the two. Finding a book that combines two subjects I'm passionate about was a very pleasant surprise for me. I ended up reading the whole thing in about three days--partly because I'm a fast reader, and partly because I was riveted. Hopefully you'll check it out and find it to be interesting as well.
Levitin has dedicated a website to the book and its research/content: www.yourbrainonmusic.com
Obviously, I have a connection with music that is uncommon. There are a lot of people out there who like music, but there are relatively few of us who hear it on such a multi-sensory level. Daniel Levitin does an amazing job of verbalizing what it's like to hear music the way I do.
The great thing about this book, is that it not only describes the biology behind the bizarre emotional connection between humans and music, it also gives a pretty decent run-down of all the music theory basics the average person would ever want to know. It's basically Neuroscience 101 smashed together with a Music Theory for Non-musicians class. There is a lot of technical jargon in spots, but Levitin is careful to explain any terms he uses. He even criticizes the snobbery of the music world and denounces those who speak only in terms that other musicians (and possibly music critics) would understand.
He draws on examples from all genres--Beethoven to Led Zeppelin--to explain why certain individuals like certain styles, how we are able to remember so many different songs, why we are a lot more musical than we give ourselves credit for, and which parts of the brain are stimulated while listening to various types of music. All of his references to different artists and different pieces encourages the reader to go out and listen to anything they are unfamiliar with.
I definitely recommend this book to anyone who loves music. I feel like music is one of those things we take for granted sometimes--as if our understanding of everything musical just magically happens. We may love or hate whatever we are listening to, but regardless, something absolutely astounding is happening inside the brain when any sort of music is playing. Rolling Stone Magazine just recently did a big article about this book, in which they actually showed brain scans of people listening to different songs. We've all heard about right-brained and left-brained people and the characteristics of each. I never realized that music truly is "all-brained."
As one who is about to begin a rigorous masters program in a subject that is an off-shoot of psychology, and as one who cannot live without music, I wonder after reading this book if there is something I can do down the road that connects the two. Finding a book that combines two subjects I'm passionate about was a very pleasant surprise for me. I ended up reading the whole thing in about three days--partly because I'm a fast reader, and partly because I was riveted. Hopefully you'll check it out and find it to be interesting as well.
Levitin has dedicated a website to the book and its research/content: www.yourbrainonmusic.com
Monday, March 12, 2007
CD Review: Matchbook Romance--Stories & Alibis (Epitaph Records, released 23 September 2003)
I have to pay this tribute to Matchbook Romance today, as they have officially announced their split and "indefinite hiatus." Now, I know that plenty of bands have said that in the past, only to get back together a week later, but knowing that Matchbook has already lost guitarist Ryan Depaolo, I'm sure they are going to be gone for a long while, maybe even forever. Sad news--they were such a promising band and in my opinion, never completely got the respect they deserved. So here's to them as we go back in time to their first full-length studio release.
Stories & Alibis is one of the better debut albums I've ever heard. Here's a band that fits neatly into the alternative/punk/emo genre, yet completely defies all stereotypes and expectations. The lyrics on all the tracks are powerful, whether they are conveying sadness, anger, or in the case of "If All Else Fails," hope and happiness. Every emotion is clearly and genuinely expressed. Not only is their writing fantastic, but their music is so much more technically advanced than just about anything I've heard come from a band like them. Their ability to harmonize and navigate difficult time signatures is a pleasant contrast to the typical simplicity of most groups. Don't get me wrong--I think simplicity definitely has its merits, and sometimes less really is more, but if complexity can be well-executed, it is such a mark of musicianship--something that is often missing from modern music.
The highlight of the CD is the upbeat power-ballad "Promise," a song that could be about something as light as teen romance or as heavy as suicide. The lyrics can be interpreted however you see fit. I had the fortunate experience of seeing them on the Take Action Tour in 2006, and they (very appropriately) closed their set with this song. I've seen crowds go crazy before and haven't necessarily felt moved one oway or another, but when they broke out with "Promise," there was just this amazing vibe in the room--I would go so far as to say that the emotional energy was palpable, and I'm sure I'll never forget what it felt like to be there.
"Stay Tonight," "Tiger Lily," and "She'll Never Understand" all have some really cool harmonies on them. They really have an ear for putting together some interesting lines. Some of them are even challenging to sing along with because they are so unpredictable. I love it when music is a surprise. "Shadows Like Statues" and "The Greatest Fall of All Time" showcase Aaron Stern's drumming ability and his uncanny knack for rhythm. Not only is he incredibly technical and precise, he just has an ear for interesting time patterns, which also adds to the element of surprise in their music. On a side note, he is also one of my favorite drummers to watch--I'm hoping that he has great success beyond Matchbook Romance.
We are all fortunate that they stayed together long enough to put out a second full-length album called Voices. I really like that one also for different reasons. They evolved a surprising amount in the three years between albums, but definitely did not lose either their originality or their talent. I'll write about that one at a later date I'm sure.
Hopefully we will hear more from them sometime in the future--even after Ryan left the band, they reported sill working on more new material. Hard to say if they ever got enough together to eventually release it--I guess we'll just have to keep our eyes and ears open. I'm sorry if you never got the opportunity to see them live--they are truly incredible in concert, but the next best thing you can do is check out their music. I think you'll be surprised and impressed.
Track Listing:
1. Introduction
2. Your Stories, My Alibis
3. Playing for Keeps
4. Promise
5. Lovers and Liars
6. Tiger Lily
7. Shadows Like Statues
8. My Eyes Burn
9. She'll Never Understand
10. If All Else Fails
11. Stay Tonight
12. The Greatest Fall (of All Time)
13. Untitled (Bonus Track)
Stories & Alibis is one of the better debut albums I've ever heard. Here's a band that fits neatly into the alternative/punk/emo genre, yet completely defies all stereotypes and expectations. The lyrics on all the tracks are powerful, whether they are conveying sadness, anger, or in the case of "If All Else Fails," hope and happiness. Every emotion is clearly and genuinely expressed. Not only is their writing fantastic, but their music is so much more technically advanced than just about anything I've heard come from a band like them. Their ability to harmonize and navigate difficult time signatures is a pleasant contrast to the typical simplicity of most groups. Don't get me wrong--I think simplicity definitely has its merits, and sometimes less really is more, but if complexity can be well-executed, it is such a mark of musicianship--something that is often missing from modern music.
The highlight of the CD is the upbeat power-ballad "Promise," a song that could be about something as light as teen romance or as heavy as suicide. The lyrics can be interpreted however you see fit. I had the fortunate experience of seeing them on the Take Action Tour in 2006, and they (very appropriately) closed their set with this song. I've seen crowds go crazy before and haven't necessarily felt moved one oway or another, but when they broke out with "Promise," there was just this amazing vibe in the room--I would go so far as to say that the emotional energy was palpable, and I'm sure I'll never forget what it felt like to be there.
"Stay Tonight," "Tiger Lily," and "She'll Never Understand" all have some really cool harmonies on them. They really have an ear for putting together some interesting lines. Some of them are even challenging to sing along with because they are so unpredictable. I love it when music is a surprise. "Shadows Like Statues" and "The Greatest Fall of All Time" showcase Aaron Stern's drumming ability and his uncanny knack for rhythm. Not only is he incredibly technical and precise, he just has an ear for interesting time patterns, which also adds to the element of surprise in their music. On a side note, he is also one of my favorite drummers to watch--I'm hoping that he has great success beyond Matchbook Romance.
We are all fortunate that they stayed together long enough to put out a second full-length album called Voices. I really like that one also for different reasons. They evolved a surprising amount in the three years between albums, but definitely did not lose either their originality or their talent. I'll write about that one at a later date I'm sure.
Hopefully we will hear more from them sometime in the future--even after Ryan left the band, they reported sill working on more new material. Hard to say if they ever got enough together to eventually release it--I guess we'll just have to keep our eyes and ears open. I'm sorry if you never got the opportunity to see them live--they are truly incredible in concert, but the next best thing you can do is check out their music. I think you'll be surprised and impressed.
Track Listing:
1. Introduction
2. Your Stories, My Alibis
3. Playing for Keeps
4. Promise
5. Lovers and Liars
6. Tiger Lily
7. Shadows Like Statues
8. My Eyes Burn
9. She'll Never Understand
10. If All Else Fails
11. Stay Tonight
12. The Greatest Fall (of All Time)
13. Untitled (Bonus Track)
Friday, March 9, 2007
CD Review: Angels & Airwaves--We Don't Need to Whisper (Geffen Records, released 23 May 2006)
I will never forget the first time I heard this album. I was playing poker with a bunch of people on the floor of my friend Jeff's apartment. I was paying attention to the game, so I was only listening superficially, and I was so confused because I was SURE that it was blink-182 and that they'd drastically altered their style. All I could think of was how mature their music had suddenly become. When Jeff told me it was a group called Angels & Airwaves, I absolutely did not connect the fact that it really was Tom Delonge singing (just with a different group of musicians) until days later. I got such a positive overall feeling when I was listening to the album at Jeff's house, I had him burn it for me so I could listen a little more carefully.
Ever since then, I've just become more and more attached to the songs on this album. It's hard to believe this was a first-effort studio recording for them--it's as though they've been recording together for years. First of all, it's extremely cohesive. The songs somewhat tell a story (although not directly or obviously), and the tracks flow seamlessly from one to the next. At the same time, any one track can be listened to alone, without losing any meaning. The subject matter centers mostly around fear (and breaking through it) and love--two themes that are particularly timely with the war in Iraq going on now.
I absolutely love the opening track, "Valkyrie Missle." I have a tendency to have detailed visions while listening to music, and this song is a perfect example. Even if music is not a particularly visual experience for you, I think you will still be able to feel the apprehension and release the song creates. The lyrics are powerful and can be applied many different ways. The band created a short film based on this lead track--I highly suggest you check it out (I think music videos are so interesting, as they help clarify the artist's intentions). "The Adventure" fits in this same category with its rolling rhythm line and soaring, U2-esque riffs.
"Do It For Me Now," "A Little's Enough," and "It Hurts" are a little more moderately paced, all about love and/or heartbreak. All lyrically strong, it's helpful that the music is relatively uncomplicated and therefore not at all distracting. The background has a drive to it that just creates an amazing ambiance. This is the kind of music you want to listen to with noise-canceling headphones in the dark. I think every artist strives to give the listeners some kind of emotional response, and in my opinion, Angels & Airwaves was able to do that here.
The heaviest tracks are "The War" and "Start the Machine," both of which have some disturbingly realistic lyrics and definitely more musical intensity. They are perfectly interspersed with the rest of the song list, so there's a nice variety of slow, heavy, and upbeat.
Because I enjoyed the album so much and because it did successfully create that "feeling" I always search for when listening to music, I was incredibly excited to see them live. Live shows always just add a dimension to whatever I experience from a CD, and I had high hopes for their performance. When I did get to see them last summer, the acoustics were not all that great, and I'm pretty sure Tom was otherwise impaired... it just was not the fantastic experience I was expecting. I am looking forward to seeing them again--I figure now that their first tour together (all four members have been performing with other bands for quite some time) is under their belt, their performance will only become more professional and spectacular.
I just read on their website (www.angelsandairwaves.com) that they are working on a new album, so we'll all have to stay tuned and see what they come up with next.
Track Listing:
1. Valkyrie Missle
2. Distraction
3. Do It For Me Now
4. The Adventure
5. A Little's Enough
6. The War
7. The Gift
8. It Hurts
9. Good Day
10. Start the Machine
Ever since then, I've just become more and more attached to the songs on this album. It's hard to believe this was a first-effort studio recording for them--it's as though they've been recording together for years. First of all, it's extremely cohesive. The songs somewhat tell a story (although not directly or obviously), and the tracks flow seamlessly from one to the next. At the same time, any one track can be listened to alone, without losing any meaning. The subject matter centers mostly around fear (and breaking through it) and love--two themes that are particularly timely with the war in Iraq going on now.
I absolutely love the opening track, "Valkyrie Missle." I have a tendency to have detailed visions while listening to music, and this song is a perfect example. Even if music is not a particularly visual experience for you, I think you will still be able to feel the apprehension and release the song creates. The lyrics are powerful and can be applied many different ways. The band created a short film based on this lead track--I highly suggest you check it out (I think music videos are so interesting, as they help clarify the artist's intentions). "The Adventure" fits in this same category with its rolling rhythm line and soaring, U2-esque riffs.
"Do It For Me Now," "A Little's Enough," and "It Hurts" are a little more moderately paced, all about love and/or heartbreak. All lyrically strong, it's helpful that the music is relatively uncomplicated and therefore not at all distracting. The background has a drive to it that just creates an amazing ambiance. This is the kind of music you want to listen to with noise-canceling headphones in the dark. I think every artist strives to give the listeners some kind of emotional response, and in my opinion, Angels & Airwaves was able to do that here.
The heaviest tracks are "The War" and "Start the Machine," both of which have some disturbingly realistic lyrics and definitely more musical intensity. They are perfectly interspersed with the rest of the song list, so there's a nice variety of slow, heavy, and upbeat.
Because I enjoyed the album so much and because it did successfully create that "feeling" I always search for when listening to music, I was incredibly excited to see them live. Live shows always just add a dimension to whatever I experience from a CD, and I had high hopes for their performance. When I did get to see them last summer, the acoustics were not all that great, and I'm pretty sure Tom was otherwise impaired... it just was not the fantastic experience I was expecting. I am looking forward to seeing them again--I figure now that their first tour together (all four members have been performing with other bands for quite some time) is under their belt, their performance will only become more professional and spectacular.
I just read on their website (www.angelsandairwaves.com) that they are working on a new album, so we'll all have to stay tuned and see what they come up with next.
Track Listing:
1. Valkyrie Missle
2. Distraction
3. Do It For Me Now
4. The Adventure
5. A Little's Enough
6. The War
7. The Gift
8. It Hurts
9. Good Day
10. Start the Machine
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