Archive | April, 2011

Three in Three: The Mad Pride

23 Apr

Five-Pointed Star inside a Peace Sign with the Vitruvian Man (Pentacle Da Vinci Peace). I think this is trying to say something!

Welcome to a special installment at the Music Court. Yes, we tend to have many special sections, but it’s all the better to keep you readers on your toes. Three in Three is a fancy way of saying that I will profile three bands in three days. Three exciting bands that are making some fantastic music. Let’s start with The Mad Pride.

The Mad Pride, named after the same-name term of the movement of mental health services users and their allies, definitely targets the mind with their music. The brain-child of singer/songwriter/multi-instrumentalist Rowan Galagher, The Mad Pride hail from Wollongong, New South Wales Australia. This is a good example of why I love the Internet. The Mad Pride is from Australia. I am from New York. For those unsure about geographical differences and distances, Australia is far far away from New York. Yet, I can listen to music from this band because of the wonders of the Web. That’s pretty sweet, especially because The Mad Pride is making great music.

The Mad Pride has released three albums during the span of 2009-now. And, during this album catharsis, there has been an attempt to label the band in a certain genre. For some reason, we, the music public, feel the need to genre-specify every band we hear. We need to link them to other acts as well, in an obvious attempt to make our listen more comfortable. It is an odd necessity, but not surprising when you look at the human need for specificity. The Mad Pride does not fit neatly into a genre and because of this, the band has been labeled many different sub-genres. I will admit it, I always fall into the trap of searching for correct genre placement. Because of my commonality, let me try.

The Mad Pride focuses on dark, folk melodies that set a deep melodic picture. This, like a background on a portrait, allows for rich, experimental sounds to be added like fresh brush strokes, and, of course a voice. Galagher’s voice can be best described as theatrically quiet. It is a tender whisper that projects, a rare ability that soothes the listener while sending them into a near mental state of somber wonder.

In saying that, I believe the Mad Pride is a good example of Folk Noir (“dark folk”) that also plays with some late 60’s dark psychedelic folk melodies. Galagher has been compared to Syd Barrett and the comparison is apt. While Galagher has less of a psychedelic concentration, his music takes on a similar feel to post-Floyd Barrett. Galagher’s voice also reminds me of a toned down Roger Waters and Thom Yorke (to a lesser extent).

Follow this link: http://soundcloud.com/the-mad-pride and listen to “Virus With a Violin” and “Lion in a Cage,” my two favorite songs, and listen to vocal complexities paired with the caliginous melodies.

Interested in being featured on the Music Court? Send your information to musiccourt@gmail.com and I’ll be happy to take a listen.

National Grateful Dead Cover – Pre-Fleet Pecknold – Happy Birthday John Weider

21 Apr

The National Want to Cover The Dead

The National’s Matt Berninger commands hipster respect with his deep croon. Can you imagine that voice tackling Grateful Dead hits? Well, according to bassist Scott Devendorf, The National is planning a Grateful Dead cover album for charity. Devendorf shared this information with Spinner at Coachella. According to Devendorf, the band has not decided on songs yet, but “Box of Rain” is a practical choice because Berninger’s voice needs to fit the song. I’m not sure how Berninger’s voice is going to fit. Proceeds from the album will go to charity, and, apparently other bands like Fleet Foxes are interested. But, don’t expect a run-of-the-mill cover album.

“It’s not going to be like jam bands cover the Dead,” said Devendorf. “There are so many cover bands. I think half of the record will be reinterpreting it,” he says.

—————————————————————————————————————————————————————————

Pecknold Covers Simon and Garfunkel Before Fleet Foxes

While we are on the subject of Fleet Foxes joining the Grateful Dead cover album, here is a video of Robin Pecknold (of Fleet Foxes) covering a Simon and Garfunkel song with fellow Seattle-based musician Aaron Mannino. The catch? Just watch the video.

Where is all of his hair? Pecknold is only 17 years old in this video, but still wildly talented (as you all can hear).

—————————————————————————————————————————————————————————

A Very Family-Oriented Birthday for an Animal

Pun intended. Stupid puns, but band-name puns are inevitable. John Weider is in the category of musician’s that no one has ever heard of, but all have heard. Oh that pesky “of.” Weider, a talented guitarist, bassist and violinist, played with Steve Marriott (before Marriott formed Small Faces) in a band called Steve Marriott and the Moments, before he himself moved on to big bands like The Animals and Family.

Here is John Weider playing guitar on The Animals’ cover of “Shake Rattle and Roll” live in Australia.


“The Afterlife” by Paul Simon – A Memorable Song off of So Beautiful or So What

20 Apr

Elvis Costello wrote a laudatory review of Paul Simon’s new release So Beautiful or So What for The Huffington Post. In the review he commented that, “Throughout the record, I kept coming up against what I can only call, rock and roll surprises; not some orthodox formula but indelible, hypnotic guitar motifs and swinging, off-center rhythms tipping your expectations into a new kind of thrill.” Costello concluded that So Beautiful or So What, “rejects the allure of fashionable darkness and the hypnosis of ignorance – better to contemplate and celebrate the endurance of the spirit and the persistence of love.”

I find Costello’s review to be apt. He, a fantastic musician himself, targets two constant musical traits that Paul Simon explores. One, a propensity for zany guitar swings and lyrical fearlessness, and two, an immutable driving “spirit.” Both of these attributes find their way into the tracks of So Beautiful or So What, and Simon’s 12th studio album and first release since 2006 enters listeners and serenades them with creative music. Paul Simon is a consummate musician who has been honing his skill for over 40 years, only now to have reached the zenith of his talent.

“The Afterlife,” track two on the album, is a great example of Costello’s praise. The guitar riff is “hypnotic” and “swinging.” Let me add a few adjectives. The riff is also effervescent, sweet and toe-tapping. It’s strong rhythm sticks to listeners like a lollipop, fruity and inviting. The beat persists through the 3:39 piece and compliments Simon’s folk croon well.

In the song, Simon sing:

“Buddah and Moses and all the noses from narrow to flat, had to stand in the line, just to glimpse the divine, what you think about that?
Well it seems like our fate to suffer and wait for the knowledge we seek. It’s all his design, no one cuts in the line, no one here likes a sneak”

This, the third verse, is followed by the chorus, “You got to fill out a form first, and then you wait in the line,” which is repeated throughout the song.

The verse/chorus is my favorite lyric in Simon’s “Afterlife” lyric. It is candid religious commentary from Simon, and it is not polemic or argumentative, like some religious thought is. Simon sings that everyone must wait, no matter who you are. It is our “fate” to wait in line for the “knowledge we seek.” In the next verse, when Simon’s narrator finally meets god, he is so awe-struck that all that comes out is, “Lord is it, Be Bop A Lu La or Ooh Poppa Do.” And, if I had to guess, Simon would probably pose this question to god if he meant the omniscient being.

Tags: , ,

A Somnolent Song?

19 Apr

The last time I did a SWOD was July, 2010. SWOD (song/word of the day) is a category that I started to profile vocabulary words and corresponding songs. On the way back to my house today, “Sleep” by The Dandy Warhols lulled me into a state of musical bliss, and somewhere in the repetitive riff I thought today would be a good day to bring back the SWOD. Thank the Dandy Warhols for their help!

Word: Somnolent (adj)- sleepy; drowsy

The Dandy Warhols formed in Portland, Oregon back in 1994 and they have released 10 albums to this date, spreading their alt/indie rock sound and apt pun band name. It is fitting that one of the band’s main inspirations is the Velvet Underground. In 2000 they released arguably their best album Thirteen Tales from Urban Bohemia, and today’s somnolent hit resides on track eight. Is “sleep” a drowsy song?

In one word, yes, “Sleep” fits neatly into the term somnolent. The song is carried by a repetitive guitar riff that mixes with Courtney Taylor-Taylor‘s whispered croon. The band also uses drawn-out studio effects that mesh with melodic chanting. The Dandy Warhols also use a neat song technique in “Sleep” that contributes to the soporific quality of the music. In a melodic move most similar to turning the volume knob on a stereo system down and up, the band slowly drops the studio-effects to highlight the chanting and then gradually works them back into the song. This “lulling” works to achieve a dreamy piece, and this works for the song because of the constant riff in the background.

Tags: , ,

Coachella: Mumford and Sons and Ratatat – Dave Matthews Band Caravan Chicago

18 Apr

Coachella and Mumford and SonsMumford and Sons’ Saturday set at the three-day Coachella festival that wrapped up yesterday night portrayed why they are considered one of the best new folk/indie groups to hit the scene. Well, new may be pushing it. They have been around since 2007, but have only released one album. An epic album, in every sense of its nature, but only one. I will still consider them a burgeoning talent.

I caught the encore of Mumford and Sons’ 8:30 p.m. set last night on Coachella’s live feed on Youtube. By the way, that is an awesome idea. It’s difficult to get out to festivals (especially if they are across the country), so a live Youtube feed (that doesn’t lag) is much appreciated.

The set was wonderful. Mumford and Sons’ live prowess is clear. They truck through songs with beautiful folk ease. A solid brass section was a welcome addition to the band’s already tight-knit sound. During the set, Mumford and Sons’ revealed a new song, “Lover’s Eyes,” that provides evidence of the direction the band is going in. Good news for those who enjoyed Sigh No More.

“Lover’s Eyes” is led by Marcus Mumford‘s excellent voice. The acoustic riff sounds a little like “War Was in Color” by Carbon Leaf (especially the ending hammer-on). The song follows a trademark Mumford and Sons’ pattern. That is the gradual crescendo. The soft beginning turns into a strong, hard-strummed ending with brass and harmonized “la’s.” I can see it being a mid-level hit off of the eventual new album.

Clearly, though, the best song from their set was “Little Lion Man,” which shatters folk boundaries with its greatness.

Notice at 1:10-1:15 into the song Mumford breaks a string on his acoustic. He strums his guitar incredibly hard so it is not surprising. He doesn’t stop the show or make a fuss. He plays like nothing happened. That is professional and a wonderful live characteristic. This band may be young, but they play like live veterans. Excellent show!

—————————————————————————————————————————————————————————

Ratatat My Coachella Surprise

Let me premise this section. Okocim often talks of Ratatat. He has even shown me their music. They were not my favorite. I sort-of scoffed at his recommendation. Well, absolutely no more. A good live performance can change your opinion of any band. Ratatat’s live set on Sunday night was both musically composed and crazy. The band taps into the rich psychedelic past and pulls out elements that they include in their own music…and it is awesome.

—————————————————————————————————————————————————————————-

Dave Matthews Band’s Caravan Tour Heating Up

While we are on the subject of music festivals, I want to highlight the next venue on the Dave Matthews Band Caravan Tour. The first venue announced was Atlantic City, and the heralded list of musicians is tempting me to buy a three-day pass. The second, Chicago, will take place from July 8-10. While I live farther away from Chicago than Atlantic City (it is like an 11 hour difference), the Chicago line-up excites me more. Atlantic City does have Guster, but, as much as they are awesome, I have seen them twice. Let’s peek into the Chicago line-up.

David Gray

Ray LaMontagne

O.A.R.

Kid Cudi.

The Flaming Lips (performing Pink Floyd’s Dark Side of the Moon)

Amos Lee

Michael Franti and Spearhead

Alberta Cross

Edward Sharpe and the Magnetic Zeros

Emmylou Harris

Ben Folds

G Love and Special Sauce

Gomez

Soulive

The Wailers

Sharon Jones and the Dap-Kings

Also, some artists from Summer Camp 2011 Music Festival will be featured on a special stage on Saturday. That festival (May 27-29 in Illinois) features acts like Widespread Panic, moe, Umphrey’s Mcgee, The Avett Brothers, Girl Talk, Wiz Khalifa, Bela Fleck and The Flecktones, Punch Brothers, and Lubriphonic (who I profiled over a year ago here).

I bolded the two reasons I want to go to the Chicago show more than Atlantic City. The Ben Folds case is interesting. I have promised my girlfriend, Rebecca, that I will take her to see Ben Folds. I want to see him too, so it is a win-win. But she will be on vacation during the Chicago show, and, if I go to see Ben Folds without her, I will be killed. Edward Sharpe and the Magnetic Zeros is fair game and I just really want to see them. Chicago, though, is 13 hours away and it might be a little impractical to think I will be able to get out to the show.

Tags: , , , ,

← Older Entries
Newer Entries →