Kay Kay and His Weathered Underground

I've been meaning to write about this band for a while - and not quite sure what caused me to delay on reviewing their recent self-titled debut album, "Kay Kay and His Weathered Underground."

The band Kay Kay and His Weathered Underground is actually the remnants of the band Gatsby's American Dream -Kirk Huffman & Kyle O'Quin who teamed up with cellist Phil Peterson. With this change, the band Kay Kay ditched the teenage angst of Gatsby and replaced it with more mature sunshine, carnival, psychedelic indie pop rock.

The album is an ever swirling mixture of random influences, but none are more prevalent than the Beatles Sergeant Pepper. Which is both the down fall and saving grace of the album. It is as if the members of Kay Kay and His Weathered Underground raided their parents old LP's and 45's from back in the 50's-60's and took all the best aspects of this era of music and injected them into their music. Because of this, the album doesn't break any new grounds or introduce any new radical sounds to their listeners.... however they are trending familiar ground and it proves to be nostalgic and one pretty damn good album. Even Phil Peterson (cellist/production) stated that with the album: "We are trying to do something that is tapping into what was great about music..." On the process of creating the record, when interviewed by the Stranger, Kirk Huffman mentioned that, "While we were doing something simple, and just kind of mimicking our favorite artists, and chopping up 12 different songs and making them --- well there is a kind of homage and tribute with this record, and we wear that on our sleeve; it is nostalgic, that when those familiar chords and chord progressions, and changes, and feels -- we were trying to mimic everything - Kyle the whole entire time was like we need to take the tambourine and pan it right - that is exactly what they did on 'Rubber Soul'." With this precision and attention to detail, it all shines through brilliantly on the recording.

Susan Frances of Absolute Punk previously reviewed Kay Kay's debut album and stated that: "The songs from Kay Kay and his Weathered Underground’s debut album have the dreamy seascapes of The Minor White, the gypsy punk sweeps of Nurses, the theatrical crests of The Dear Hunter, and the tuneful esoteric stylizing of Mika. Kay Kay’s album is made up of so many components, and yet, all of these fragments diametrically come together peacefully into a scenic Utopia. The gypsy-tinged symphonies of “Into the Realm of the Unknown” and “Simon Courage Flees the Coop” have exotic chimes lining the rhythmic beats and a theatrical-pop spirits which coats the melody with enchanting ringlets."

http://www.absolutepunk.net/showthread.php?t=422751

My favorite's off the album have to be 'Birds (On a Day Like Today)' - has some Ben Fold's aspects to it --- 'Hey Momma' - I included a live video of this song being performed below and 'Simon Courage Flees the Coop' with its baroque pop sensibilities.

Overall, the album is a beautiful homage to the music of an older generation, which none of the members of Kay Kay were alive to live through.... however were able to Frankenstein together a great album.

Looking forward to seeing them live at Bumbershoot this year in Seattle.

~Andrew D.B. Joslyn

Sasquatch 2009 - Saturday Lineup May 23, 2009 Part 1

So being a musician and never being to the Gorge almost seems like heresy -- prior to this last weekend, I had never been to the Gorge, Washington State's premier spot to see live music.

The band I play with, Handful of Luvin' is slated to play at the Gorge this summer in early August before Phish, and I didn't want my first experience of the Gorge to be a performer, and not as a attendee. So, my girlfriend and I decided to go to the festival and experience it firsthand.

To be honest, the Gorge was all I imagined it would be: glorious and incredibly epic. To anyone that has ever been there, just the sheer size of the grounds alone is astounding -- the max capacity for the venue is 20,000 people and the view of the Columbia river and surrounding landscape behind the main stage is spectacular - Enough about the Gorge, now onto Sasquatch itself.

Originally I had only purchased a ticket for Saturday at the Gorge, since the majority of the lineup on that day I had heard of, and enjoyed their music. (Kings of Leon, Doves, the Yeah Yeah Yeahs, M. Ward and others). Thankfully, my girlfriend convinced me to stay until Monday, so we were able to attend the festival on Sunday as well.

Sasquatch Lineup:

May 23, 2009
Wookie Stage 1:30 PM - Blind Pilot

The band got off to a late start (egregiously long sound check). Overall the band was a good way to start off the festival for me - they had a huge array of random instruments (lap slide, violin, accordion, guitar, bass, banjo, accordion, keyboard, trumpet) which all added lots of layers of extra sound to help liven up the relatively laid back set. On initial listen the group sounds like Wilco - with the vocals of Israel Nebeker and Ryan Dobrowski,they have a sound like a younger Jeff Tweedy mixed with Conor Oberst (Bright Eyes) sugary sweet folk pop melodies with an Alternative Folk Twang.

Unfortunately after 3-4 songs, the set became quite bland (all the songs were medium tempo, and had nothing showy.) All the parts of the group were very simple (elementary rhythms; uncomplicated chord changes; and with not much variation), so the group played it safe and easy.... the main push and drive of the band was the vocals and lyrics - which at initial listen seemed pretty straightforward... definitely something I'm going to need to listen to more in the future for a more educated critique of this Portland Band.

Main Stage 2:20 PM - The Doves

I came to the Doves set being familiar with their older albums (The Last Broadcast and Lost Souls). In the late nineties and early 2000's, the band had been described as 'The New Radiohead" - which isn't too far from the truth... however the band has roots in dance pop rock which bleeds through their songs and sound.

Their set at Sasquatch had a huge atmospheric sound to it - thanks to the 2 story speakers flanking the massive Gorge Main Stage. With the combination of percussive bass line drones, driving dance drums, chimey guitars, and soaring vocals lended to the Doves sound. The new Material from their albums Kingdom of Rust and Some Cities sounded great - and the older song "There Goes the Fear" was a fantastic closer for the entire set.

The band overall sounds very familiar to fans of Coldplay, U2 and Radiohead and 'Euro Sulk Rock' -- and fit well at the Main stage for Sasquatch.

3:25 Main Stage - M.Ward
To be honest, even though I own M.Ward's album 2006 Album 'Post-War' I'm not very familiar with M. Ward's songs. I actually was introduced to M.Ward's music after researching his associated act, She & Him (which is M.Ward's act with actress and singer Zooey Deschanel). The one song which I know and was looking forward to was Chinese Translation which M.Ward immediately blasted into at the beginning of his set.

M.Ward's sound is both new and old - if Jerry Lee Lewis never existed and then all of a sudden was a contemporary band - that would be M.Ward.

In the middle of M.Ward's set, he brought up the violinist from Devotchka (the next Main Stage band) Tom Hagerman, who played an impromptu song. Hagerman played it safe and didn't do anything fancy or embellish too extravagantly on M.Ward's tune... which was fine - I was just hoping for more of a show when he came out.

4:20 Yeti Stage, Mt. St. Helens Vietnam Band
the group was loud and raucous... didn't stick around long enough to be able to fully critique or enjoy their set.....

4:30 Main Stage, Devotchka
....however, I did have plenty of time to enjoy this gem of a band, Devotchka. I remember seeing these guys years ago at Bumbershoot in Seattle, and I absolutely loved their set. DeVotchKa is a four piece multi-instrumental and vocal ensemble that fuses Romani, Greek, Slavic, Bolero, Mariachi (and many more styles) music with American punk and folk roots. (Imagine 'Fiddler on the Roof' in the middle of a Carnival Horror House, with 'Rancid' as your tour guide.) Their sound is quite unique, and I was pleased to see that they were giving the honor of being on the main Stage.

Here is a video I took of one of my favorite songs: Clockwise Witness.



5:50 Main Stage, Animal Collective
The set went off to an interesting start... for the longest time I wasn't sure if it was a sound check or an actual song... which pretty much sums up my impression of their entire set. Their set comprised of cacophonous noise making which to the initial listener seemed convoluted and abrasive (lots of random howling, synthetic electonic beats; twinkles, pops, etc.). I was hard pressed throughout the set trying to figure out why the group had so much hype about them... the entire blogosphere and critic circles were ranting and raving about how wonderful these guys were.... maybe I just need to get onto the band wagon and listen to this band a few hundred times and dissect what makes them tick......

The thing that frustrated me most with the group was the ever present tension that they had musically throughout the set --- it never seemed to resolve itself-- the music direction was like they were trying to get to an idea, but never reached it.... like their sound was the aural representation of the novel Ulysses (complicated and beautiful.... but god who reads it for fun?????)

-Andrew D.B. Joslyn

Meeting Andrew Bird - The More Noble Beast

Last night I went to see Andrew Bird play at the Moore Theater, in Seattle, WA, and it was an interesting evening.

So if you've ever met me - you know that I have a healthy obssession with the Chicago Multi-instrumentalist Andrew Bird. With many musicians you look for idols and ideals in your own genre of music that you want to emulate, or at least pull inspiration from ---- as a violinist in a rock band such as my own, the list of musicians which you can actually draw from is significantly limited compared to say drummers, guitarists, and bassists.


For me, Andrew Bird is one variant of the ideal violinist in a contemporary pop, indie rock setting: he utilitizes music recording and onstage gear very well, he has a stellar onstage persona, and he is able to carve his own path based on his own music - which in itself is the most impressive feat - and damn can he play that violin.



Recently Andrew Bird - the violin toting, whistling, glockenspeil and guitar playing guru released his eighth studio album, 'Noble Beast' - which continues his punch into the indie rock alternative genre. Lately a lot of people have been comparing him to Rufus Wainwright, Jeff Buckley, and even the sounds of Sufjan Stevens. Yet comparing him to other contemporary artists such as the above doesn't really fully describe his sound.

Technically his layout is extremely complex. Onstage and in the studio, Andrew Bird uses a combination of two Line 6 Loop stations linked with each other along with some other choice pedals, which allow him to build overdub upon overdub of his violin plucks, bowings, whistlings, glockenspiels etc. Sometimes the sound can be either enchanting and ethereal or raucous and overwhelming.



The amazing thing is that the majority of his compositions he can do solo, and sound like a full orchestra - with the magic of his Line 6's. When Andrew Bird first began this project, with the album's 'Weather Systems' and 'Mysterious Production of Eggs', he kept things relatively simple with just him and drummer/electronica composer Martin Dosh. And the compositions were unreal and beautiful.



With the inclusion of Mike Lewis (bass/clarinet) and Jeremy Ylvisaker (guitar) both using Line 6 loop stations, the potential for chaos is undeniable. Even when I spoke with Jeremy and Mike directly after Andrew Bird's show at the Moore Theater, they were both noticeably nervous about the topic. The risk you run with more and more musicians on stage all using loop stations trying to sync with each other, and all contributing to the ever swirling madness of digital playback... is utter cacophony. Granted, Andrew Bird and his crew are adept at keeping the chaos at bay - but at times, I missed the simple solo instrumentation of Mr. Bird plucking out a simple melody.

The show itself at the Moore Theater was initially an uncomfortable experience. The whole urban hippy, uptight Seattlite crowd had gathered in full at the Moore, and the group of friends I had brought with me was noticeably disgruntled. Andrew Bird's Music definitely caters to the more artsy, hipster crowds - and they were out in force that evening. Loney Dear, one of the newest additions to Seattle's Sub Pop records opened the show. The Swedish group plowed through their 45 minute set and garnered a appreciative response from the audience.

Once Andrew Bird took the stage by himself and began the evening with a swirling intro and broke into a alternative version of 'Self Torture' the group instantly responded positively. Immediately afterward, Martin Dosh, Jeremy and Mike took the stage and went into 'Master Swarm' (one of my favorite new songs).

The set list that followed that evening:

Self Torture (Andrew Bird Solo)
Master Swarm (full band)
Natural Disaster
Extended Intro into 'Effigy'
Oh No
Plasticites (with an extended ending)
Fitz and the Dizzy Spells

At this point, Andrew Bird made an extension introduction for his colleague Martin Dosh calling him a "prolific and established composr and drummer." The band broke into a rousing version of 'Not A Robot, But a Ghost.'

Armchairs
Anonimal
Fiery Crash
Imitosis
Table and Chairs

Encore:
Why (Andrew Bird Solo)
Don't Be Scared (from Weather Systems)



After the show was done, the Seattle hipsters filed out quickly and so did myself, my girlfriend and my friends that came with me to the show. I was determined to talk with Andrew Bird, and we decided to wait for the band to come out so I could talk with them. Unfortunately the enthusiasm I had for the band wasn't fully shared by my entire group- which was disappointing for me - since I had been idealizing this evening for a while in my own head.

After waiting 35 minutes in the miserable drizzle, I saw Mike Lewis (bass/clarinet) and Jeremy Ylvisaker (guitar). As I approached both Mike Lewis and Jeremy Yylsaker, I became instantly nervous. You realize that you have become the solicitor and the loiterer, and it was an uncomfortable position to be in for me. Once I spoke with both Mike and Jeremy, I became more at ease and asked them several questions about the Line 6 set up, and how they all met and got started with Andrew Bird.

Mike Lewis and Jeremy Ylvisaker had all played in various bands with Martin Dosh and other Minneapolis musicians - just all apart of the same music scene, so it only seemed natural that once Martin Dosh had partnered up with Andrew Bird, that Mike Lewis and Jeremy Ylvisaker would follow.

After speaking with them, I saw Martin Dosh briefly, but was unable to catch his attention. Another 20 minutes passed, and I finally saw Andrew Bird and approached him. Sometimes when you listen to someone’s music and see them perform you start feeling a bond with them, a sort of understanding of what they’re about. And as a violinist myself (classically trained, initially through Suzuki, in a band, touring myself etc.) I felt that our bond should have been stronger than any mere fan. Or so you think, until you meet them in person and realize you have nothing to say, besides maybe describing what their music means to you.



When I introduced myself I told him that I had been playing violin myself for a long time, and was hoping that would have gleaned some sort of recognition, or even an element of acknowledgement. Unfortunately it had not, and I was left with an awkward silence wanting to ask him so many questions, but I was face to face with the undeniable fact that I was merely a solicitor and not a musical kindred soul. Fortunately I was able to ask him about his violin pick up setup - but after I asked the question I felt like I had overstayed my welcome. I thanked him for his time, and walked away.


I felt frustrated by the entire experience - but then honestly didn't know what I expected from him. More than anything I wanted to be seen as an equal, or at least a kindred musican which would possibly spark a moment of connection. I guess, I will have to be content with immersing myself in his music.


~Andrew D.B. Joslyn


http://altmusic.about.com/od/reviews/fr/andrewbird.htm
http://www.sputnikmusic.com/album.php?reviewid=28791

U2 - New Single - 'Get on Your Boots'

So ever since the release of 'Pop' back in 1997, I've noticed a gradual down turn for U2. All of U2's material prior to 'Pop' is always the most rocking, and honest sounding of the group. However once the discotheque, trance techno, and crazy studio production kick in, something seems to get lost. Between Bono pretending he is the devil, and giant lemons falling from the sky... Pop wasn't a great album - but it wasn't a bad album either -- it just marked a significant change in artistic direction for U2.

The next couple of albums seem to follow the same trend, even though the band states that they are trying to make a 'return to their original sound.' With 'All that you Can't Leave Behind', and 'How to Dismantle an Atomic Bomb' - the band continued to enthrall millions with their sound, and gain a new following, however seemed to lose some of their loyal fans as well, as they traversed new sounds... and became a HUGE global franchise.

The thing that is difficult for me with Pop, All that you Can't Leave Behind and How to Dismantle and Atomic Bomb is that it is U2 trying to stay on top, and not show their age. With all these albums they are experimenting with new sounds, sonic ideas, directions, and production styles --- in order to stay current, and sell albums. However with all of them, they just seem to steadily lose the essence which made the band a knock out band. With the countless re-issues of old remastered albums and Live DVD performances... which continually show Bono and the group's age... I was beginning to lose hope that the group would ever be able to create honest rock music ever again.

I had high hopes for 'How to Dismantle an Atomic Bomb' - but I was strangely disappointed. Like a fine wine, you'd expect bands to mature with age, however the slick production of 'Atomic Bomb' and the overall presentation of the album just made it like fine lacing wrapped around rusted bolts. The sounds were not fresh or new -- all the new material seemed like rip off's of better older songs- almost like U2 had become a cover band for their own older stuff.

Ok, well it may seem like I hate U2- but I'm a huge fan, and because of that I have huge expectations for them- and it seems like a long time waiting for the next Joshua Tree from this band. Well, here comes U2's newest cut from their upcoming album 'No Line On the Horizon', 'Get On Your Boots' and its the first time that I haven't been disappointed in a while. It sounds like a cross between Vertigo, Discotheque, 'Big Girl's are Best' and Elvis Costello's 'Pump it Up' - and is hard-edged, and up tempoed. The Chorus' have a definite tinge of Brian Eno with its meandering melody line over Bono singing 'You Don't know how Beautiful you are.' All in all it makes the band sound like they are not old and outdated - but are able to put out a contemporary sound which is raw and fresh, and not just a franchise stunt.

I'm hoping that the album has more tracks like this on it, since they are well overdue for another f%&%ing rocking album. Definitely helps having the group release this single tidbit right before Barack Obama's Inauguration - a fitting homage to a new year, a new presidency, and a new era in U2's sound possibly.

Check out the new track streaming LIVE at:
http://goyb.u2.com/

~Andrew D.B. Joslyn

An Interview with The Black Swedes - Tempest

The Black Swedes are a relatively new band to the Indie rock scene in Seattle, WA, and Tempest is their first full length release. The band is composed of two full time members (Ian Bell (lead vocals-guitar) and Matt Benham (guitar - backing vocals) and a cast of supporting performers that help flesh out their sound.

The Black Swedes New Album - Tempest - is all about atmosphere --- death, melancholy, subtle joy, and love all play parts on the album as well. Even though the album first appears thematically dark, the flourishes of strings and gentle guitar parts of Matt Benham help soften 'Tempest' into a moody yet beautifully introspective work.

The album begins with a lush guitar and string arrangement titled 'One' which settles the album nicely into the first full song in track 2 - 'Angel'. The song, with the help of Katie Freeze's tasteful string quartet orchestration creates a veritable pop-folk gem with Ian Bell's vocals gently pushing over the strings and wistful guitars.

'Please Let Me Down Slowly' is a gentle moment of reflection where the song slowly builds in intensity to a cathartic ending, while "I Would Only Love you More"

The only cover on the album, "Asleep" by the Smiths, is a moody rendition of the original, which captures the darkness which Morrissey embued in the track with lots of reverb. Bell's vocals help capture the quiet despair in the lines: "Sing me to sleep Sing me to sleep Im tired and i I want to go to bed Sing me to sleep Sing me to sleep And then leave me alone Dont try to wake me in the ..." The track almost seems to be whispering to you from a deep well. The Black Swedes version also includes the melody of Auld Lang Syne in the end with some bells which acts as a strange bittersweet moment on Tempest, where the narrator is comtemplating suicide while the joyful tune heralding New Years Eve echoes in the background.

Both 'One' and 'Six' are the only pure instrumental tracks on the album, and they help divide the album between the first 5 tracks and the last more diverse collection of songs at the end of the album. Six helps lighten the load a bit after the heavy, and emotional 'Asleep', however nothing really prepares the listener for the next track.

The darkest song on the album by far is "I Once Loved A Girl," which depicts the twisted imaginings of a scorned lover killing his ex-lover and her new boyfriend. Katie Freeze's string arrangement only help to increase the creepiness of track with screechy strings, and dark cello lines. Even after I spoke with Ian about this track, he admitted that it is particularly dark, and he even had a fan request that he never play it live because of its tone and message. The song has a certain tinge of Portishead to it as well.

Thankfully, the next track 'Power in the Union' is by far the most driving, rocking track of the album, even though like the rest of the album, it lacks a solid drum part. 'Mikayla' sounds nicely like Elliot Smith, and 'Peace' settles out Tempest gently with a solo by Ian Bell. The last line of 'Peace' seems like a quiet epiphany after the storm of the rest of the album, with all of its tempestous love, thoughts of suicide, anger, confusion, anguish... "If Peace is what you want from me, than Peace is what I'll be...."


Even though the album tends to drag into the depths of sorrow with 'Asleep' and 'I Once Loved a Girl' - the album is a solid, cohensive presentation, and is nicely balanced out with such tracks as 'Angel', 'I would Only Love you More,' and 'Mikayla'. Overall, Tempest, is a wonderful debut album for Black Swedes, and shows great potential for their music in the future.

I had the good fortune to be able to set up an interview with Matt Benham and Ian Bell and what follows is my conversation with them regarding Tempest:

_________________________________________________________________

1.) When we initially spoke over the phone, you described the album as being an emotional journey in the process of getting over a girl -- do you mind elaborating a little bit more on this?

Ian: So I had been in a very close relationship with the same woman for roughly four years. As we began to fall apart I had just finished the last Sea.Mine release and began working on a new set of tunes. They were originally meant for my previous band to record but we fell apart at almost the same time that my relationship did. I went into the studio with a bunch of musicians that I really respected to record some of these songs. These session did not result in "Tempest" but it did solidify me and Matt as the Black Swedes. Those songs will actually come out later this winter as two EPs. Any who, the record is layered out at first in a reverse chronology of the death of that relationship. It starts with the good feeling of the instrumental. It then goes to Angel, which comes from a revelation I had after we had broken up. This angel spoke to me about how great things will get as long as I can learn to let go. The next song is more of a plead. The feeling was that since we had been together for so long I needed her to do me one last favor. That was to let me down as slow as possible. To be as gentle to my heart as she could be. These things are never what you hope them to be though in the end. Then track four is about the time before we broke up. It was going so poorly between the two of us but I would have stayed in it until my last breath. I felt that no matter how bad it could have gotten I would have only loved her more.

Matt: The same thing happened to me at roughly the same time as Ian. Both my relationship and my band Argo broke up simultaneously. My breakup wasn't as drawn out, but it definitely informed the feeling of letting go that I think is represented on the record. The song Mikayla was something I started for my ex, and then had Ian help, because we were basically telling the same story.



2.) So Ian - as far as I can tell, you are a nice, light hearted guy -- however a lot of these songs are so inwardly thoughtful and deal with notions of death, suicide, and forlorn love - to a degree they seem to be at odds with your outward demeanor -- what is your take on this?

Ian: I am relatively light hearted and for the most part I love to have a good time, but I have to deal with a few speed bumps. The songs are my way a processing the things in my life that I have very little control over. When I keep it all in I do become fairly morose, but as long as I can get it out and onto a record I am able to deal with the bad that life inevitably puts on your plate. I have also seen a lot of failed attempts at love through my close friends and family. I think that I have yet to see love out weigh the loss that I have seen. Kind of shitty.








3.) So one thing that is hugely apparent in the album is a lack of a rhythm section - no bass or drums. Are you guys planning on fleshing out your sound more in the future with bass and drums, or are you looking at keeping it to a more stripped down sound with two guitars and vocals? What are the reasons for your choice regarding this? Any personal animosity towards rhythm sections? :P hehe-

Ian: Yes I do have a bit of a love hate relationship with the rhythm section. Both of our band, sea.mine and Argo, broke up primarily due to the loss of drummers. Matt and I wanted to do something small, intimate and quiet. The rhythm section will be back soon though. We have already finished the sessions that will be our late winter EPs. Both of which will feature the drumming of Kaanan Tupper. He is a magnificent Portland based drummer who was last heard as a part of the Intelligence live set and on Jeremy Enigks record, World Waits. We are now working on getting our live band together for the EP releases. I believe we will end up being at least a nine piece; string quartet, bass, drums, piano, matt and I.





4.) How did you and Matt meet up, and how did the Black Swedes form? Furthermore, how did the name come about?

Ian: Matt and I met up through our previous groups. Sea.mine and Argo played two or three shows together over the years. At the end we were sharing a manager. I had booked a few days in teh studio to get a recording of other musicians first impressions of some of my new songs. I asked Matt to come in as the lead guitar player for those sessions. After both days went well I asked him to join the project officially. The name is from a lie I told myself as a child. I didn't know my father growing up, so I had no idea that his family background was of Jewish/Prussian descent. So growing up in a an all Scandinavian family I was confused about why I had olive skin. I told myself this story that my mom had said I was from a rare tribe of Black Swedes, just like there are black Irish and Russians. But the Black Swedes are rare and that is why no one knows about them. This lie probably was designed to counter act the idea that I was actually adopted, which was the story my brother was trying to get me to buy into.








5.)What influences did you guys have while working on the album? Any particular artists or bands which helped inspire you for the album?

Ian: I've personally found that the album sometimes has a sound like Elliott Smith, and Jeff Buckley. Matt and I both love Simon and Garfunkle, along with Elliot Smith and Wilco. I think that the most prominent influence for me at least was The Smiths and Nick Drake.





6.) As you mentioned previously, Track 5 - Asleep is a Smith's cover song from the album 'Louder than Bombs' - did you consider any other songs to cover for the album, and what reasons did you pick 'Asleep' as the cover to use on this album?

Ian:I have been a fan of the smiths for most of my life. Being the youngest of many many children, music was pushed on me at an early age. The smiths are what I clung to the quickest and I guess I never let go. Our producer Josh Evans had been making the case for us to try and pull off this cover some time by the time the tempest sessions were about to wrap up. Matt came up with an amazing guitar arrangement and I guess it just felt perfect to all three of us.

Matt: i struggled with this choice, as the piano version is very difficult to translate to guitar, especially for intuitive musicians like Ian and I. We started recording probably eight or nine times before we slowed it down to the tempo you hear on the record. I hadn't been swinging it as much and when we recorded it live, it didn't work. I think it turned out great, and can't imagine having to record it again. It was a little torturous for me.






7.) Goals for the future? With Black Swedes, what kind of a direction are you looking for with the band --- more players? musical direction?

Ian: We are very excited about this record. I think that it is the best album that I have been apart of since I first started playing. Our goal over the next season or so is to give those listening a sense of what we plan of doing over the next few years. We want everyone to see what styles and sounds we are interested in, what forms we call home. To do this we will be releasing albums fairly close together. This album is obviously a quiet, folk orchestral recording, but the next two EPs will be nothing like that. Those two recording were done with 6 piece bands and are done with an sense of improvisation. The songs venture a bit closer to the loud and fast but never fully reach that end. The records that we will begin recording in February will be a mix of the previous releases with the addition of quicker songs. We plan on using the same string quartet sound but will flush it out with the 6 piece used for the EPs. I think I will be a really good recording. After that release We will stay a full band for sometime. In the end Matt and I see ourselves as more a project than a band. We love Wilco and Radiohead but relate better to Tears for Fears when it comes to group function. We want to be flexible in our band make up to best serve each song and record.

Matt: Just a quick addition to this idea of a project rather than a band. We both were heartbroken when our previous bands broke up, and just realized how hard it was to rely on so many people. I think that's why I wanted to do a Simon and Garfunkel type thing where there were only two people in the whole friggin' thing, and it would be easier to play shows and tour once we got up and running.

_______________________________________________________

~Andrew D.B. Joslyn


http://www.ricecrackermusic.com/clients/BlackSwedes/01%20Guitar%20Instrumental%20MASTERED%2002.wav



http://www.ricecrackermusic.com/clients/BlackSwedes/02%20Angel%20MASTERED.wav





http://www.ricecrackermusic.com/clients/BlackSwedes/07%20I%20Once%20Loved%20A%20Girl%20MASTERED.wav

Kings of Leon - Only By the Night

I remember back in 2005 when Kings of Leon opened up for U2 at the GM Place Stadium during U2's North American Leg of their 'Vertigo' Tour, and I had the fortune to be back stage while Kings of Leon performed their opening slot.

At the time, I was completely unaware of who they were, and to be honest, disappointed and disturbed that they were opening up for such a huge international act as U2. It seemed like the band was misplaced and out of their league. After the show back in 2005, I researched the band more in depth and was seriously surprised to find out how big they actually were, and how much international recognition they had achieved. Even to this day, I think that same underlying notion hangs in my head - I'm still surprised how big they are.

Rolling Stone described the background of the Kings as, "the epitome of a mythological rock & roll story. The Followill brothers are sons of a preacher man who were raised on the road throughout the South, traveling from one Pentecostal church service to the next. They were shattered by a divorce, transformed by illicit substances and the stoner music of Led Zeppelin and rewarded with a Nashville record deal for their grinding garage-boogie sound and raw, Southern gothic lyrics. "

The Kings of Leon have a sound that derives from teenage angst, southern, garage, and hard rock blues. The sound that is produced is an off shoot of anthemic U2 vocals, mixed with lo-fi crunchy guitars, and driving drums. Dirty Rock and Roll in a nutshell. Their newest album - Only By the Night - opens up with a creepy and dark atmospheric rock track 'Closer' which then moves into a Radiohead-esque track 'Crawl' complete with lots of fuzzed out guitars.

The first released single of the album - "Sex on Fire" - is the first really catchy and solid gem on the album, and the Kings pushed it as such. This track definitely showcases the bands descent into over produced commericialized sound, and somewhat contrived - which they have been criticized for lately regarding this latest album.

Chris Jones of BBC Radio states that: "The one thing that really shows the band's confidence is their willingness to slow down and really attack these songs. Caleb claims that medication's effects influenced the writing and indeed, the droning insistence can be almost hallucinatory. Interestingly the first single, Sex On Fire - returning them to the fire and brimstone, gothic territory of their peripatetic father's preacher roots - is the one track that comes closest to the Strokes-aping sound that held them back in the past. But Caleb's muzzy, straining voice pushes them beyond arch post-modern irony from the big city. In interviews Caleb's talked about the boys tackling their ''roots'' again, and this album wears its colours proudly."

This is where things get interesting though - as Holden Caulfield in Cathcer in the Rye pointed out, "He's so good, he's almost corny, in fact. I don't exactly know what I mean by that, but I mean it. I certainly like to hear him play, but sometimes you feel like turning the goddam piano over. I think it's because sometimes when he plays, he sounds like the kind of guy that won't talk to you unless you're a big shot. If you do something too good, then, after a while, if you don’t watch it, you start showing off." With the Kings, it almost seems like with this album they fall prey to their own mythology and think of themselves as bigger than they actually are, and with negative results.

Taking into consideration that the band is ultimately huge in the UK, Australia and Europe, they play to fads and try and epitomize the juggernaut sound of U2 - and the comparisons between the two bands goes on and on and on. The song 'Use Somebody' sounds exactly like a U2 turnaround with thunderous cymbals, ohh's and ahh's and screeching guitars..... on 'Be Somebody' it sounds like yet another Edge guitar riff rip-off..... I don't need to go on. So are the Kings of Leon trying to be the Kings of Leon, or U2??? The album just seems to be a testament to the possible compositional erosion which the Kings of Leon might be facing... and it doesn't pose well that this is the first album which the band co-produced themselves.

"Speaking of unoriginal song writing, “Use Somebody” is another run-of-the-mill mainstream indie amalgam that subtly rips off a “Where the Streets Have No Name” lick for its supporting guitar line while Caleb squeaks about wanting to bone a random face in the crowd." - Filmore Holmes (Pop Matters)

Towards the middle of the album, the drive of the album falls short, and falls into a sonic lull between 'Manhattan' through 'I want you' - which makes it all-too-easy to just skip through to the driving 'Be Somebody' (track 10).

Filmore Holmes of Pop Matters further echoes my sentiments of the band: "They exist on and believe in their own hype, an intangible juggernaut stunningly and consistently supported by the UK and Australian media while soundly denounced by the North American bastion of indie taste Pitchfork, now for the fourth time in as many full-lengths with their lowest ever rating. Yet the many devoted street teams and pocketed critics always seem to drown out the few authorities willing to put the effort in to point out how average they truly are. Lucky for us, Only by the Night is the CD that will turn the tide on that cesspool."

http://www.popmatters.com/pm/review/kings-of-leon-only-by-the-night

The real issue with the album is it becomes a matter of presentation, not the song writing. Their previous releases have all been good; the raw, edgy sound which they drew from their previous release 'Because of the Times' was an honest album, full of real emotion of not a bunch of hokum. What is scary to see with this album is after listening to it a couple of times, there isn't much to take away from it - stuff which emotionally sticks with you, or moves you.... it just seems like more formulaic tricks to expand their fan base and just sell more CD's.

Even though it has taken almost four years to grow on me, I can accept Kings of Leon as the hype juggernaut they are now; but even when they opened up for U2 years ago, I think my first impressions about them was not unfounded.

The Airborne Toxic Event

Recently a friend of mine, told me that she saw this band at 107.7 End Fest in Seattle, WA, and thought I would be into them. After grabbing a CD and listening to their tracks, I found that I enjoyed them.... but it wasn't because they were unique, but because they sounded like so many other groups which I enjoy.


The Airborne Toxic Event is an American indie rock band from the Los Angeles neighborhood of Los Feliz that consists of singer/song writer and guitarist Mikel Jollett, guitarist and keyboardist Steven Chen, bassist Noah Harmon, drummer Daren Taylor, and keyboardist and violist Anna Bulbrook. Named after a section of the book White Noise, by Don DeLillo, the group brings in string instruments and keyboards, along with a standard rock lineup of guitar, drums, and bass guitar which has a baroque indie rock sound at times.

As I mentioned previously, the album itself lends itself to many contemporary popular artists. The themes and stories of the songs presented by Mikel and the Airborne Toxic Event are not new or significantly radical - however Mikel's lyrics have an ability to come across as articulate and poetic, and not vapid or pretentious as can be the case with many indie rock groups... unfortunately they aren't perfect by any means, and sometimes fall into the trap of trying to be way more deep than they actually are.

The lyrics and writing have Mikel Jollett to thank, the groups frontman, and band founder. Previously Jollett's forte was fiction writing, and he had also earned additional income as a freelance writer, contributing to organizations such as NPR, Los Angeles Times, Filter Magazine and Men’s Health.

The first song on the album, Wishing Well is unfortunately pretty predictable. Mikel Jollett has a whiny, angsty voice, which is precariously balanced between being way too emo and annoying, or dark, brooding and appealing. What always stands out to me in this album, the whole time is the lyrics. Mikel isn't a classically trained opera singer, however ONLY his voice can bring depth, and meaning to his words. Check this out:
"You wanna run away, run away
Just get on the fucking train and leave today
And it doesn't matter where you spend the night
You just might end up somewhere in a fight, in a fight
Or caught in your room on a concrete shelf
Fighting all alone, with yourself, with yourself
And you just wanna feel like a coin that's been tossed
In a wishing well, a wishing well." (excerpt Wishing Well - Mikel Jollett)

His sarcasm is apparent, and a lot of these songs on the album almost sound autobiographical.

As I stated before, even though the sound of the band, and the presentation are nothing new - (you can compare these guys to the Baroque indie sound of Arcade Fire; the minimalistic pop rock of the Strokes; the alternative sound of the Killers; and also the extravagantly emotional vibes of Conor Oberst and Bright Eyes) - the lyrics are where this album gains some ground.

Jollet's vocals are almost a little too low during the second song of the album - 'Papillon'. Furthermore, the lyrics in this song were a little too predictable and formulaic. If you broke it down into a poem, all the lines are pretty much AABB, AABB, etc. etc. etc. - with cute little rhyming ends to make the song flow musically and rhythmically.

"Then we're out the door in an hour more (A)
We stumble down from the second floor (A)
And we're swaying, braying (B)
We don't know what we're saying" (B)

And I wish I had the guts to scream (A)
You know, things aren't always what they seem (A)
When you walk away, I want to stay (B)
Don't leave me here to pace and pray (B)

Etc. Etc. - this is stuff you would learn in a Poetry 101 course, and I would have expected more from a seasoned writer like Mikel Jollett. However, I don't hate the song, and even though I can pick out a lot of stuff to criticize - it doesn't mean this is a bad album. The song is almost remarkably like The Strokes (Barely Legal anyone??)

Stand out tracks for me on 'The Airborne Toxic Event' were the single, 'Sometime Around Midnight', and the tracks 'Does This Mean You're Moving On?' and 'Something New.' Sometime Around Midnight, starts off with a moody string quartet which then drops off to a whispering guitar - with Jollett's sensitive vocals reaching out over the top. The song gradually builds through various musical tiers - complete with increasingly more emotional vocals and sweeping strings to make the song more significant. It's a great formula for getting people to feel that your music is more deep - and honestly it works for Airborne Toxic Event in this song. The whole song is about a night out turned sour when an ex squeeze walks into the room. It is an easily recognizable and relateable situation. Even though I've laid out the formulas and gimmicks they used in a negative tone, I really enjoyed the track and the lyrical journey which Jollett took me on throughout it.

By far, the jangly pop rock feel of 'Does This Mean You're Moving On?' is my favorite track on the album. The Drive and the almost self-mockery of the lyrics make it a worth while listen.

The song 'Something New' is a nice little interlude track in the latter part of the album, and Jollet's vocals with violist Anna Bulbrook are a beautiful mix.

Other songs on the album, 'This is Nowhere'(sounds a bit like the Killers), 'Missy' (Sounds like Conor Oberst, and Bright Eyes), 'Innocense' (sounds like Arcade Fire, Funeral)... are all predictable, but enjoyable.

Pitchfork Media's Ian Cohen gave a scathing review of Airborne Toxic Events album: "Throughout, the Airborne Toxic Event show a surface-level familiarity with early 00s critics lists, but aren't able to convey what made those much-lauded recods emotionally resonant. Can't convert unthinkable tragedy into cathartic, absolutely alive music like Arcade Fire? Just steal the drum pattern from "Neighborhood #1 (Tunnels)"? Can't connect with the listener with the same fourth-wall busting intimacy as Bright Eyes? That's when you trot out the run-on sentences and get all tremulous when you mean it, man. And that's just the first song."

He goes on to say:

"In a way, The Airborne Toxic Event is something of a landmark record....- often sounding more inspired by market research than actual inspiration. Congrats, Pitchfork reader-- the Airborne Toxic Event thinks you're a demographic."

Look here to check out the whole review: http://www.pitchforkmedia.com/article/record_review/145326-the-airborne-toxic-event-the-airborne-toxic-event

Even though I felt that Ian Cohen's depiction of this album was more of Cohen flexing his 'Critic Muscles' and bashing the LA Scene more than objectively looking at the album as a separate piece of art, Cohen makes some important points. Airborne Toxic event are nothing new. They can become quite formuliac, and play it really safe at times - pandering to previously established popular music. (as I mentioned previously, Conor Oberst, Killers, Arcade Fire, Strokes, etc.)

However this isn't a reason to hate them, or dislike the album. In fact, I listened to this album for a week straight and it never left my record player. I guess what really matters about this album is expectations:

The Airborne Toxic Event may not be as deep as they may want you to believe, and their sound might not be as unique as their publicists may want you to believe, but the Airborne Toxic Event are a good group. I would recommend this album to anyone who enjoyed any of the previously named groups which A.T.E sound like. It is almost certainly guaranteed that you will enjoy this group, and dig their sound.

On a side note - there Myspace is also a great place to visit. They have acoustic versions of all the songs from their current release, except 'The Winning Side' - all they all sound great. I almost wish that they would release a separate acoustic album with these tracks since I enjoyed them so much. Once the major label production and gimmicks have been stripped away, the band is solid, and has some real serious value to them. It just sucks that the label probably got carried away with making the album more 'marketable....'



I'm actually looking forward to their next release whenever that may be.