A Tribute to Will Stratton

A little late on this but, last Friday was a pretty exciting event.  It was the tribute to Will Stratton coupled with the release of the album available for purchase that also goes to his Medical fund.

It was a pretty fantastic sow held at Spin in Manhattan - a large basement ping-pong club.  I wish I wrote this earlier so I could remember it better.

First there was Beat Radio.  That was a two-man group.  Not usually into that kind of thing, but it was cool.  Next you had Kid in the Attic who I had previously seen at a rooftop show with pow wow! and Crazy Pills on Andrea's birthday.  It's just one woman in a red hat and this was certainly a better venue for her than a drunken Bushwick party.  Both artists are on the tribute album and make pretty cool contributions.

Aaron Roche was the next to perform, an older guy and collaborator of R. Stevie Moore's.  Naturally that piqued my interest and his set, though long awaited from the set-up time was pretty awesome.  It started really quiet and then got louder as he had two young female vocalists with him for harmonies that reminded me of a more successful version of what the Dirty Projectors try to do.  With mostly pre-recorded backing and high intensity, his set reminded the most of John Maus.

The Next two sets were more personal by New York friends Jesse Rifkin and Trevor Wilson.  Both of them are on the tribute album as well, and by then things got so emotionally taxing that I couldn't even pay much attention to Wilson's set, though it was clearly a continuation of Rifkin's with a lot of delicate beauty.  You should look into both artists.

Will closed the set himself which was an unexpected treat, up to some point, and though he was underrehearsed, I doubt I've seen him play better.  It was overwhelming.  There were only three songs in his set but it was the highlight despite some great competition.  He is looking surprisingly healthy and in good spirits, so we all have a lot more to look forward to from Will.  His next album is entitled Gray Lodge Wisdom and will be quite a change of pace, and I personally have very high hopes for it.  A demo of its title track (sure to change a lot) is included in yesterday's article's package.

Photo by Mike Raynes

Photo by Jeff Nasareno

Well, there goes my policy of not reviewing friend's shows, but I have to push the BENEFIT ALBUM and how you should buy it.  I was asked to include a couple tracks and I chose Jesse Rifkin and David Garland's.  The former because it is quite a radical reinterpretation of an old favorite differing from either artist's usual sound, and the latter because of that artist's connection to Connie Converse and the Documentary my wonderful girlfriend Andrea is making about her.

Well, here are those TWO TRACKS, but you really should just buy the album, probably several times.

Anyway, my mind has stopped functioning, rather it's malfunctioning and I should probably stop.

Standing Before King Everything

This was of course the kind of thing I would give my life for: Two nights in a row of Guided by Voices’ classic lineup in the two best places on Earth.

The first night at Los Angeles’ Wiltern Theater was a special occasion as I was joined not only by fellow GbV devotee Paul Igaz, but by two newcomer friends of ours (including a true Pollard). After a number of canned American macrobrews we were ready to head down the street for the show. Doors were at 7 that night and we arrived at almost 8:30. Missing Times New Viking was an unfortunate but doable sacrifice, but what was surprising was that had the schedule been followed to the T we would have missed some of Guided by Voices set. They started not much later, but as Uncle Bob and company entered the stage with “A Salty Salute,” we learned where out lateness was a mistake. Paul and my attempts to get closer were met with unpermissive security forced us into be the most enthusiastic fans in the middle sea of Hollywood poseurs.

However, as Mitch led us into “Shocker in Gloomtown,” the reassurance that we would have another chance the next night was enough to let it go. The band continued to lead us through all the classics from the obvious “I am A Scientist,” “Motor Away”) to the obscure (“My Impression Now”) with fantastic showmanship not only from the Fading Captain himself, but equally from cohorts Mitch Mitchell and the fantastically dressed Greg Demos. Staging hit its peak with the Tobin Sprout cuts – particularly the ones in which he was joined by Pollard and “Cut-Out Witch” (one of the few Under the Bushes Under the Sttars cuts played.) Bob hit us with all his classic moves – the windmills, the kicks, the hops, yet kept them in check to give his band the credit they deserve.

At San Francisco’s Warfield even more friends joined me after an invigorating drive across the Bay Bridge. This time Times New Viking confirmed their importance as one of today’s best bands leaving me, unlike the rest of my crowd speechless. They evoked not only their all-encompassing home state, but some of the cosmic power of Young Marble Giants with Beth Murphy reminding me of an awkward Chrissie Hynde and Adam Elliott as the greatest singer songwriter to sit behind a drum kit.

Then it really started. Was this show better than the one in LA? It is impossible to say, but what I can say is this: Being much closer to the stage surrounded by people who know every word to “Gleemer (the Deeds of Fertile Jim),” “Smothered in Hugs,” and the symphonic high of “Don’t Stop Now” one can only think of commercials for Christian rock compilations for comparison. You know, the ones where the massive audience throws their collective hands towards the sky in transcendent ecstasy. It was like that, but with a lot more motion in the body, a bit hard to stay on your feet, well, and beer, obviously. Likewise the new proximity to the stage allowed me to finally witness the legendary “crazy Kevin face” which was all its cracked up to be possibly due to, or perhaps despite the fact that Mr. Fennell had aged particularly well in spite of the worst substance abuse.

While the songs were the same, some things differed between the shows. Perhaps this was only due to the location of my party, but the SF show was much more male-dominated, yet despite all your outsider sneering had no apparent gay element to it. Obviously Guided by Voices, right? On a similar note, The Los Angeles show featured a long string of banter between Pollard and Mitchell on the topic of Los Angeles pussy, which I am sure was enjoyed by all single members of the group particularly Mitch. The Los Angeles show also featured a great rush to the stage on “Motor Away,” in which at least 30 people joined the band onstage to everyone’s delight. This was not repeated, but neither was Pollard’s improvisation on “Lethargy” which reminded us that no one in the band gives a fuck, so why should we?

With all the songs intact the band changed it up a little bit by switching from two encores into three, but both ended the same way. First a sing-along epic rendition of “Johnny Appleseed,” and the closer to end all closers “Weedking” in which Uncle Bob sends his fans home early with the right idea I am sure almost all of us followed.

That’s right you will be home early to give your own neighborhood a taste of the Monument Club where you can watch your newly initiated friends transform from child to Official Iron (Wo)Men. That’s all you’re getting. Gotta leave some surprises for you suckers on the East Coast.

But here’s one they certainly won’t be swinging in Boston: Mitch has maintained the cigarette with unfathomable constancy and at many point, so does Pollard.

Indeed That Heavy, But This Futen Has No Right to Say...

Well, I've been inactive for a long time now. Just wasn't feeling too inspired, but that's changed. Just dicked around in this hopeless post-graduate LA job-market clearing my palate with some old favorites and Rhino's Super Hits of the 70s: Have a Nice Day series thanks to my roommate Tommy. That and getting deeper into Julian Cope's Japrocksampler...

...which of course has been the return of my inspiration, and here is Les Raillezes Denudés. Formed in the late 60s this Japanese band formed out of the folk scene emerging with the radical (mostly communist) left, but eventually took their music in an even more radical direction. After the politics took an equally radical turn for the band's bassist hijacking a plane en route to South Korea with quite a few American passengers and escaping to North Korea, the band faded somewhat into obscurity. At this point the cult legend and the sound only sound worthy of it grew. At this point leaderand sole consistent member Mizutani Takashiheaded off into the mountains to live in isolation and set the standard for generations of futen artists like Ghost and perhaps his most dedicated followers Acid Mothers Temple and the Meltin Paraiso U.F.O. Here the sound was honed, taking the Velvet Underground's "Sister Ray" as the blueprint and turning into a precise art of noise as only the Japanese could. Not to mention it's a whole lot more interesting musically, and I must hope with less-embarrassing lyrics. Likewise, Andy and the Velvets' Exploding Plastic Inevitable Show was the top influence on Mizutani's "total sensory assault," which unfortunately was put to rest in 1997.

This set - a bootleg like all their releases, is ranked as the third greatest of the Japrock movement by Cope is some of the most exciting music I've heard. Starting off with the hypnotic "Strong Out Deeper Than The Night," the band's mastery of noise and atmosphere as well as Mizutani's perfectly executed vocals prove that this unique music demands one's full attention. Luckily, it is well-held for the whole 15:33 with an exploratory experience of jazz with the unity of a classic rock song. "The Night Collectors" rocks out the hardest and catchiest, but not without the Tarkovskyesque approach of "sculpting in time." Moments, or long stretches of them of softness come through as well most notably in "Enter The Mirror," making this psychedelic experience particularly dreamlike. For those looking for the most hardcore psychedelia, here it is, one that evokes the full-body brain-piercing experience of an Acid Mothers show even though these busted laptop speakers - full-blast, full-attention, life-changing.


Les Rallizes Denudés - Heavier Than A Death In The Family (1995?)

*I have a few more suspicions than usual this file may not have uploaded properly, so please let me know if there's an issue!

Here's a great video - the true title of this gorgeous song is "Romance of the Black Grief"

Party In The Pines - Big Sur

Thanks to my friend (whose more-professional-than-mine review is available here) I was able to attend this great event.

We arrived as Wooden Ships were playing. They were pretty cool - heavy instrumental psych-rock with the years there to do it quite well. Next there was Vietnam and Farmer Dave. Neither of them did it for me, personally, but with some good, but expensive New Orleans barbecue and some good, and modestly priced local beer who cares? Then, at last there was Ariel Pink's Haunted Graffiti. His set consisted mainly of new stuff and the obscure. Some of these highlights were "Bevery Kills (Freaks with the Golden Heirs)" and "Psychodrama City." The new stuff is fantastic and I really can't wait for the next LP, which if released on time could rank as one of the best of this decade. He also gave an obvious(ly great) rendition of "Among Dreams" and my wish from the last time I saw him of hearing "Higher and Higher" was granted.

Following Pink was Gang Gang dance. I had never heard them before, but they put on a really cool show, which even more than the other sets I wished had been in a different setting. I would not listen to their records, but when they play LA next I will attend that show, especially if it is at the Echo, where their sound would fit perfectly.

Dungen was the star of the show in my eyes, and while they played mostly cuts from he last two albums, it was everything I could have asked for. Gustav Ejstes' genius was in plain view as he demonstrated his skills on mainly piano, plus vocals, flute, guitar... and tambourine. Also on display was his amazing ability to find talented musicians who can play just like him. The band also matched the forest setting best and their sound on classics like "Festival" and "Panda" was more subdued, yet no less powerful than on Ta Det Lugnt. Never miss the chance to see Dungen.

Another star of the show was the DJ who gave us music during the painfully long transitions. Her set consisted heavily of Anatolian rock, even with a cut from Benimle Oynar Mısın - the awesome "Sen Varsin". Gustav Ejstes was enjoying it a whole lot and why not because many of those artists are a clear influence on him.

And of course, who could discuss Anatolian rock without Erkin Koray...

Starting as early as the late 50s, Erkin Koray was the definitive voice of the Anatolian Rock movement, which while less famous was as unique and strong as similar prog/psych rock movements of the time in West Germany and Japan.

Since I have been so unreliable lately, here are his first two solo albums, which despite the increasing availability of Anatolian Rock since the successful Obsession compilation are really not "widely" available. Both of them are very strong and solid and serve as a great introduction to the style which melded Western psych rock with traditional sounds from the crossroads of the Old World. The self-titled is the one that is most in tune with that side, while Elektronik Türküler, much cleaner, is a little but more on par with the West, despite the exotic language. Okay, enough words.


Erkin Koray - Erkin Koray (1973)


Erkin Koray - Elektronik Türküler (1974)

New York's Alright If You Like Tuberculosis

Yesterday was the final show of the Vans Warped Tour here in Los Angeles and I was lucky enough to be comped a ticket. Of course, I have little to no interest in most of the artists playing, I had not even heard of most of them, but there was the Old School stage... There I caught U.K. Subs, D.O.A., and an amazing set from Fishbone. Yet, after a very weak and ungrateful band from Kansas City with the misfortune of playing after Fishbone I got what I was really looking forward to... FEAR.

While it was in the fallout of the most severe commercialization of punk rock, it was the most punk experience of my life. Lee Ving is as charismatic and acerbic as ever and the crowd was true L.A. hardcore. The whole set was very strong and the highlights, apart from "More Beer" were many of the same highlights as from the below album. They started off with "I Love Living In The City," and had a performance of "Beef Baloney" on par with the classic SNL debacle. Of course, "New York's Alright If You Like Saxophones" resonated heavily for me at this point in my life, even as it lacked the saxophone part...

For those who may not be well versed in FEAR, here's a little background: They were one of the original LA hardcore bands formed in the late 70s and bridged the (slight) gap between the Germs, X, Screamers, and Weirdos and likes of Black Flag and T.S.O.L. They were also John Belushi's favorite band (one listen to this and that makes a whole lot of sense) and he would not agree to do the SNL Halloween special in 1981 unless they could be the band. They got to do that and made a mess of their much maligned New York City featuring slam dancers and thousands of dollars worth of damage to the studio. They played "Beef Baloney" and of course "New York's Alright If You Like Saxophones" but were cut off mid-song while performing "Let's Have A War." It was definitive punk rock, of course, and Lee Ving has not changed a bit since then... at least not publicly. So get ready to get offended and enjoy...


FEAR - The Record (1982)

Gonna Break You Down, Gonna Pop You In The Mouth!

Just now, a friend of mine who was visiting New York City told me a bout a great concert experience he had there seeing a band called Personal & the Pizzas. It sounded like an amazing show featuring songs with titles like "You = Beat Up" and "Nobody Makes My Girl Cry But Me" and the singer whipping chains around while threatening the sound guy. The group is from San Francisco but their gimmick is being from Hoboken. They are quite similar in image, lyrics, and sound to the Ramones and The Dictators.

Here is a link to their myspace.

In a lot of ways, this is the best parody of the Northeast you could ever ask for and it's a whole lotta fun. The intro to "I Don't Wanna Be No Personal Pizza" says it all. Other great tracks to check out on there are "Brass Knuckles" and "I Don't Feel So Happy Now." "I Can Read," though is perhaps the rebuttal the Dictators would give their detractors after going Girls Crazy.

The Ultimate Rock 'N' Roll Legend

On August 15, 1990, the U.S.S.R.'s top musician Viktor Tsoi died in an massive car wreck after fishing in Latvia. Miraculously, the one thing that survived intact was a tape of his vocal tracks for the next album. With those tracks his surviving band members recorded KINO's posthumous masterpiece known typically as "The Black Album."

This is often considered the band's greatest work despite the entire musical tracks being recorded after Tsoi's death. However, it sounds as good, if not better than all the other records and it is hard to beleive it was recorded under such conditions. Like in all KINO's other works, that power to transcend not only the language, but their language's poor aesthetics (sorry) is there. However, it is at its most powerful here and every song is a winner. The band's post-New Wave sound is tighter than ever and Yuriy Kasparyan's guitar excels. These catchy and hypnotic songs stick into one's subconscious forever and permanently capture the last days of Glasnost and Parastroika. It makes you really wonder whether Tsoi's death before the fall of the U.S.S.R. was tragic, lucky for him, or even how he could have altered the Russia's unfortunate future. The dark yet hopeful lyrics reflect this unique time in world history on two of the album's best songs, opener "Кончится Лето (Summer Will Soon Be Over)" and (Красно-желтые Дни )Red and Yellow Days)," as does the plaintive "Кукушка (Cuckoo)," one of their best songs. "Звезда (Star)" is one of their best songs and has a cool, simple beat that any fan of New Order or Duran Duran would have to love. "Когда твоя девушка больна (When Your Girlfriend is Sick)" is one of the band's sweetest pop songs yet somehow fits in this heavy set quite well showing how much of a range Tsoi had as a songwriter, hinting at what kind of music he may have made if he lived to see the overly optomistic years following his death. This is perhaps KINO's best work and in many ways the best place to start with this remarkable band and proves that had Tsoi survived they would most likely have caught on outside the Eastern Block.


Кино (KINO) - Кино (KINO) a.k.a. Чёрный альбом (The Black Album) (1990)


Now, on a totally unrelated note, I had the unusual privelige to see 90s pop favorites Sugar Ray at Best Buy on Pico here in Los Angeles last night. I was informed about this by my friend Tommy who is working for Rocket Science, who works for the band. It was a fun way to relive 1999, and the band knew it would hardly be more than that and htey seemd to be enjoying themselves. The set even began with Mark "Mr. Ray" McGrath asking "who wants to hear the number one song of 1999?!" before going straight into "Every Morning." The set consisted of only a few songs including just one from the new album, one cover, and on top of "Every Morning," "Fly" and "Someday." I am sure no one was disappointed... well maybe the band was hoping for a bigger turnout, but they sure didn't show it. As tiresome as it may have gotten ten years ago, you gotta give the band some credit for doing what they know they do well, enjoying themselves, and having a good attitude. After all, weren't all thsoe hits better than anything that's been on pop radio since?

Be Thankful Every Day

We all know that Robert Pollard is the god of Rock 'n' Roll. No person has understood what it's all about and is the second most prolific songwriter in the genre after R. Stevie Moore. Admittedly, he has not lived up to the work he has done with GbV as a solo artist, but this record is the closest he has come to it. That's a lot to say considering this is a double LP (one CD, but whatever, dead format.). Also, this is the first thing he put out after the demise of the greatest band of all time.

Synths are more prevalent than on any GbV release making his New Wave/postpunk and prog influences more apparent than ever. The lyrics never falter and stand up to the stuff he was writing even on Bee Thousand and Alien Lanes. The biggest difference is the song lengths. There is nothing like "Cigarette Tricks" on here with no song clocking in at under one minute. More epics. It is clear that Pollard's songwriter has gotten to the transcendent level here. He is re-inventing song structure rather than simply mastering it. He produces swirling arrangements that slowly build and build while going through complex changes, ultimately building to an orgasmic peak. This kind of structure is possible only with the unworldly understand of rock music that Pollard has. What comes to mind is Built to Spill's Keep It Like A Secret which showed that you could be epic in a mere four minutes. Pollard can get a bona fide epic into a mere 2 1/2 minutes. Any GbV fan would know he is capable of that and here it is. The best tracks are "Dancing Girls and Dancing Men." "U.S. Mustard Company," and "Light Show," but let's be serious here, this is Bob Pollard.

I think comedic genius and former member of Superchunk Jon Wurster plays on this, but I am not sure.

For strong lions only.


Robert Pollard - From a Compound Eye (2006)

Here's some pics I took when I saw Bob with Boston Spaceships here (in Boston) at the Paradise Rock Club this fall with my buds Alex Halatsis and Brock Ginther. Needless to say that was a great show. I still have the empty bottle of Miller Lite that Pollard handed me during the all-GbV encore. I also got a swig or two of his tequila.:


Bob in top form


The Keene Brothers as they are known.

I have more, but why overload? That night Pollard put it all best when he said, "This is how you have a great rock band - you gotta be drunk and tight! It's really hard. Drunk and tight. Now I'm not advocating the abuse of alcohol...

...but yes I am!"

On Par with a Bottle of Miller Lite from Bob Pollard's Cooler

I promise after this, no more Ariel Pink for a while, but here is the mandatory review of the show.

Somehow, it had not all sold out yet, but the crowd was pretty tight. I unfortunately missed the first opener who I heard was pretty great, but can in right as Bobb Trimble was about to begin.



His set was strong and his band was comprised of a second guitarist, bassist, female vocalist - necessary as his voice could not get as freakishly high as it used to, percussionist and drummer. Most of the members were quite younger than him, but not that much younger relative to his past backing bands. They were all enthusiastic and performed well, for a time all in silly hats. Trimble was searing an odd hat as well, but soon switched to a Red Sox cap. The bassist was wearing a shirt with Bobb's image from the cover of Iron Curtain Innocence which of course I find kind of weak, but it's an awesome shirt either way. I would ahve bought one myself, but alas my size was not available. They are limited edition and were only $15 dollars so if you have any interest in owning one I would get on that.

Then came Ariel with one hell of a set. He and his band played mostly new stuff, but with just enough classics to keep the show largely recognizable. Here is the set list which I snagged off a synthesizer (some titles are abbreviated and not recognizable to me):

22 Eyes
For Kate I Wait
Flashback
Can't Hear
Remin.
Baby Comes Around
Hardcore Pops Are Fun
Among Dreams
People I'm Not
Interesting Results
Fantasma
Lil MG

ENCORE:
Trepenated Earth
[I can't remember at the moment, but I think it was an old one]

Also, he played "Are You Gonna Look After My Boys?" at some point.

I had been hearing mixed things aobut Pink's performance, but I think it was strong, his performance evokes the same diverse LA classics as his music. Onstage he channels Darby Crash, Rozz Williams, Jim Morrison, and Axl Rose as much as Stevie Knicks, Ron Mael, and Brian Wilson. The band is tight and has great energy, but as much of a real band that Haunted Graffiti is now it still comes across that Ariel is in charge. His presence is strong in a uniquely genius way. His merchandise table was decent, I got a T-shirt and Oddities Sodomies vol. 1, but I was expecting some of his early CD-R releases, something special.

One thing I had been wondering before the who is waht he would be wearing. It was a black satin jacket and a white sweatshirt that read "Bigger Raffi Fan." Classic. Here are some photos:


Rock God




Interesting Results


Let's get nervous!


Rockin' the Keys


Hangin' out after the show. It was here that Ariel told me "If you love Rock 'n' Roll you gotta move to L.A."