White Stripes - Ickythumped

I wanted to write an article about the White Stripes since their release last year 2007, Ickythump, but didn't have the inspiration until now.

The White Stripes, Meg and Jack White are a Alternative rock group out of Detroit Michigan, which formed back in 1997. They originally portrayed themselves as a sister and brother duo, when in fact they were married for a period of time at the beginning of their careers. Even after their divorce, the band has remarkably still stayed together.

The White Stripes use a do-it-yourself, low fidelity approach to recording songs, using a very raw, minimalist simplicity of composition and arrangement primarily inspired by early punk rock, and blues. Personally as a newer fan of White Stripes, I have grown to appreciate their stripped down, Lo-Fi primal sound. Furthermore, their playfulness and general quirkiness make the albums never too heavy or too bizarre for mainstream listeners. With their newest album Ickythump, the Stripes have returned to this analog, scratchy, Detroit garage rock sound after their experimental departure with their 2005 release 'Get Behind Me Satan,' and its piano based pop. However even though Ickythump is a return to earlier styles, it seems more over produced then previous recordings since this is their first and only release with Warner Bros.

Lidia pointed out to me that Jack White has an obssession with the number three with his recordings, and live performances. As stated on Wikipedia: "Jack has emphasized the significance that the number three holds for the band, citing it as inspiration not only for their tri-colored uniforms (red, white, black), but their pared-down approach to what he considers the three elements of song: storytelling, melody and rhythm. The number three also frequently appears in White Stripes' album artwork, and texts written by Jack, such as liner notes or messages written on the band's website, are often signed with "Jack White III" or simply "III". There are also only three sounds--drums, guitar and vocals--in most of their songs; sometimes keyboard or piano is substituted for guitar." The one thing which I found interesting in Ickythump is that his supposed rule of Three wasn't as honored as previously in other albums. In songs such as 'St. Andrew(The Battle is in the Air)' the recording has bagpipes, raging guitar, drums, and Meg White all churning together at the same time - the additional layers which lend to making the track sound more lush and full also detracts from the White Stripes' strict regimented style of three-is-best.

After writing an article about Death Cab for Cutie and the lyrical genius of Ben Gibbard, it is a bit of let down to come to Jack White's lyrics. Jack White's lyrics are not profound or deep, however they do showcase the playful, ramshackle style that the White Stripes have become so famous and loved for. Lyrcially the songs that stood out strongest for me were the albums title track 'Ickythump' and the folksy 'Effect and Cause.' The song Ickythump deals with the topic of immigration, and criticized America's current stance on immigration policy, as such the song is the first political song which the White Stripes have put out since "The Big Three Killed My Baby," off The White Stripes (1999), the bands debut album. The defining point of the song comes when Jack White states:
"White Americans What? Nothin' better to do?"
"Why don't you kick yourself out? You're an immigrant too."
"Who's using who? What should we do?"
"Well you can't be a pimp And a prostitute too."

The whole song with its abrasive guitars leaves the whole question of the immigration debate uncomfortably unresolved; lyrically and musically.

With Jack's marriage to British model Karen Elson and in a dedication to his own Scottish heritage, the White Stripes showcase a mini-suite with 'Prickly Thorn, But Sweetly Worn', and 'St. Andrew(The Battle is in the Air)'. The two tracks on the album are a a nice homage to his roots with soaring bag pipes, and raucous drums, which sounds strangely like Led Zeppelin and 'The Battle of Evermore.' Unfortunately, to a lot of hard core White Stripes fans these tracks may come across as alien and a radical change from their previous song stylings, but I found them entertaining and to be strong tracks in the middle of the album.

Another stand out track was their rendition of Patti Page's 1950's song 'Conquest' which was originally written by Corky Robbins. The song originally was a 50's song jump blues tune about the battle of the sexes, which the White Stripes turn into a raging garage rock bullfight, complete with dramatic mexican trumpets, and malaguena guitar riffs. Their new rendition takes the tune to a more darker place than the original.

Even though I am not an over the top fan for the White Stripes, I can appreciate and respect their spontaneous tempo shifts, their song dynamics, and their prog rock influences - which abound on this album. People have pointed out that this is easily the White Stripes loudest, in your face album, and at first it was hard to digest, but after a few listens it does grow on you.

The Inconvenient Truths of Ben Gibbard - Death Cab for Cuties "Narrow Stairs"

Death Cab for Cutie, at exactly one month ago on May 12, 2008 released their newest album Narrow Stairs which within the course of this last month has peaked at No. 1 on the Billboard 200 Charts.

The album marks a significant departure from the older strictly indie recordings of 'Something about Airplanes', and 'We Have the Facts and We're Voting Yes,' but also is a mature step forward for them since their recent 2002, 2005 releases of 'Transatlanticism', and 'Plans'(respectively.)

Death Cab For Cutie, was originally out of Western Washington Universtiy up in Bellingham, WA, where both myself and the lead singer of my band met as well. DCFC are Ben Gibbard (the lead singer/guitarist), Chris Walla (guitar/producer), Nicholas Harmer (bass guitar) and Jason McGerr (drums).

The main thing that gripped me throughout researching and reviewing their newest album, was Ben Gibbard's lyrics and his inspirations. In an article which Ben Gibbard wrote for Paste Magazine (Apr 10, 2008, Issue 42), he describes his experience with Narrow Stairs as: "The first line of the first song I wrote here is, 'I descended a dusty gravel ridge'—it’s like the whole album is a descent." Even the albums producer and lead guitarist, Christopher Walla described the album as 'weird, creepy and with lots of blood.' Gibbards lyrics and the general vibe of the album reflects these darker descriptions.

In this past month, many critics have pointed out that Gibbard's song writing in Narrow Stairs is more simplistic and direct, and thus less profound as his previous lyrics. Ben Gibbard on his new revised writing style described that there is, "no need to veil what's happening in the song the way I used to." Instead of making the lyrics even more dense and convoluted, which can come off as being snobbish and esoteric, Gibbard as opted out to more genuinely communicate his songs to his audience. Personally I agree with Gibbards decision, and can appreciate the level of honesty he now wants to exhibit in his writing.

From Bixby Canyon Bridge (with Gibbard opening the album with his personal relections on Jack Kerouac and his stay at Big Sur, CA); the album almost moves like a dark stream of consciousness in the style of a Kerouac beat poem as Gibbard recalls and expounds on topics such as loss of innocence and disillusionment (No Sunlight, Your New Twin Sized Bed, The Ice is Getting Thinner); the inevitability of death and how we cope with it(Cath..., Grapevine Fires, You Can Do Better Than Me), and other topics ranging from love and obsession(I will Possess Your Heart, Long Division, Pity & Fear), to feelings of inadequency (Talking Bird.) Gibbard tackles a wide array of issues and delivers to his audience a clear thoughtful, yet always somber voice.

The music itself is a wonderful counterpart to Gibbards reflections on his broken idealism- even as the lyrics are dark, the music is driving, and somewhat upbeat (in DCFC typical fashion). Strangely enough, DCFC also gets experimental with tracks such as I Will Possess Your Heart (an 8 minute long song, with 5 minutes of constant instrumental buildup); the Eastern sounding Pity and Fear, and the exhuberant fanfare of You Can Do Better Than Me. Even though the experimental tracks are new and some first time listeners may appreciate the branching out, the new tracks are very risky. Personally 'You Can Do Better Than Me' served as a great transistional song from the ponderously slow 'Talking Bird' to the bitter-sweet reflections of 'Grapevine Fires,' however 'You Can Do Better Than Me' is a weak stand alone song. Furthermore, the first single which DCFC released in promotion of the album was I Will Possess Your Heart, which in my opinion was a bad decision. Even though the flow of the song reflects the absurdity of obessessive love, with 5 minutes of continual monotony with the same D chord over and over, it is a pretty weak single, and also a poor song to have be the second track on the album. Perhaps if the track was placed later on during the album such as the epic "Transatlanticism" on their 2002 release, it might have had more of an impact for me and for the cohesion of the album in its entirety.

Overall as an album, it lacks the cohesive presentation of Transatlanticism, however continues the momentum which the band has been gathering over the years with their major label releases. Narrow Stairs is a good music album, but an even better look at the inner workings of Ben Gibbard. To be honest, I am pleased to see that this album has reached the No.1 slot of the Top 200 Billboard, it gives DCFC more worldwide recognition which they deserve, but it is strange that this would be the album to get them there.

-Andrew D.B. Joslyn



References:
www.rockhall.com/thecraft/ben-gibbard-interview/
www.pastemagazine.com/action/article/7074/feature/music/the_meaning_of_life

Gravelled and Green - The Best Album Never to Have Happened

'Gravelled and Green' the ambitious debut album of Seattle's own Actual Tigers should have been a smash hit when it was released back in 2001; however it was strangely unnoticed by the general public, and never received the recognition it deserved.

The Actual Tigers were originally named 'Willis' and were all natives to Seattle, and most went to Bishop Blanchett Highschool, where the singer of my band attended. They built a devoted following in the local seattle scene throughout the 90's, and were eventually signed to Capitol Records.

Actual Tigers/Willis comprised of Tim Seely (singer/songwriter), John Low (keys), Max Perry (bass), Diarmuid Cullens (drums), Joe Seely, and Eric Gardner. I am unfamiliar with the line ups for each of the bands and how they ultimately changed when they adopted the name Actual Tigers when they signed to a major label.

The album itself is a veritable pop masterpiece. The songs that stand out strongest for me are 'Yardwork in November' the first track on the album, and 'On a Roll,' which are both upbeat, thoughtful and driving. Great vocal harmonies and chord changes are prevalent in a varied melting pot of slide guitars, horns, accordions, electric pianos, and exotic percussion rhythms. (Reminiscent of world influences like Paul Simon, and Sting's earlier solo works)

My friend Jake is old friends with Diarmuid Cullens (the old drummer), and told me the other day that apparently the debut album cost over $400,000.00 to create, over a year in production, and mulitple Producers were credited for assisting with the engineering and development of the record. Capitol records switched CEOs shortly before it was to be released and the new one didn't "hear enough singles" on it. They shelved it to be released a while later on a subsidiary label (Nettwerk, the indie Canadian label) to no promotion or any kind of support whatsoever. Diarmuid had left the band before the album hit the market, and he now currently plays with the local Seattle band Mooncalf.

Even though the Actual Tigers have been accused of being great imitators (Simon & Garfunkel rip offs; Beatles-esque) the fact remains that the musical potential to be entirely unique and formidable was there. You could argue that many debut albums of bands aren't necessarily ground breaking or different; sometimes having some sort of recognizable quality or stlyings allow a band to reach a pre-existing fan base and give them something to build on- with the Actual Tigers, if they had only been able to stick around for a couple of more years, they would have been able to create some seriously stellar albums together.

Even after the demise of the Actual Tigers, there is still a shining spark of hope, in the artistic stylings of Tim Seely (the former frontman of Actual Tigers). I've yet to see him live in Seattle, but I'm definitely looking forward to the opportunity.

Andrew Bird - Live at Bumbershoot

I've been meaning to write about Andrew Bird for a while - as a violinist who uses loop playbacks myself, I find that I look up to, and find lots of inspiration from his artistic meanderings.

I had the pleasure of checking him out at the Mural stage at last years Bumbershoot in Seattle... and I found myself both lost in his endless loops, and intrigued by his onstage presence. Lidia got bored towards the middle of the set after each song became a tidal wave of cacophonous sound--- I even had to agree.. it became too much.

That is the problem that you get with loops... they tend to take on a mind of their own. Once you add layer after layer after layer, you run the risk of losing yourself, and your melodic direction. One thing I can say is, Andrew Bird is one of the few... well only individual that I know of currently that can pull off a show and not let the loop station become too much. Even though I'm evidently contradicting my previous comments, I've seen many youtube videos where Andrew Bird is able to fully control the loops he creates and allows them enough breathing room so they don't get too hectic.

However, at Bumbershoot I was strangely disappointed. Of all the live shows he did during his North American tour, I wish Seattle would have been a better live show -- granted the crowd loved and adored the crazy socks, spinning stereo speaker, his fantastic onstage demeanor, as well as Martin Dosh's alternative electronic drumming- the whole experience became too much -- almost like Pink Floyds the Wall being played on eight different stereo's all at once starting at different times... just way too much atmospheric sound.

I walked away from the concert about 2/3 into the show - so I'm not sure how he ended it-- I had other engagements elsewhere that evening, and was both conflicted about leaving Mr. Bird's show, but also awkwardly relieved to be away from the musical turmoil.

To be honest, I will come to any of his shows he plays in Seattle - I'm not sure if the show at Bumbershoot was an isolated incident (Mr. Bird getting a little too carried away, or maybe a little tired, etc. etc. etc.) - I understand that tons of shows have an uncanning ability of robbing a musician of some of their musical innocence -- but I'm hoping that his next show in Seattle is less loop and more Andrew Bird.