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Initially, I was a bit dismayed when I found out that Antony and the Johnsons would be playing the Pantages Theater on Valentine’s Day. His music has an underlying melancholy and heartache to it that I wasn’t sure would fit well with America’s most saccharine of holidays. But the show turned out to be the perfect antidote to all that sugary artificial sentiment, for Antony’s performance was about as real as they come, and was one of the most stripped down, vulnerable performances I’ve seen in recent memory.

Taking his place on the bench of the grand piano where he would stay the entire show, Antony and his backing band of six musicians came out to a warm ovation from the near capacity crowd at the Pantages. The musicians (or Johnsons, if you will) consisted of a drummer, bassist, cellist, and three others that swapped instruments throughout the entire show, switching from violin to acoustic and electric guitars, oboe, and saxophone during the course of the set. The orchestra provided stellar support to Antony, whose delicate and understated piano playing often guided the song forward at the onset, but never really became the focus of the arrangements. That focus was placed squarely on Antony’s beguiling falsetto, which carried the night to its exalted heights and kept me awestruck and captivated all evening long. His voice does take some getting used to, being part cabaret/part operatic, but it’s filled with a level of emotion and honesty that isn’t found in most modern music, and imbues his music with a haunting, impassioned lucidity that is rare in any art form these days.

The stage remained shrouded in darkness throughout the performance (explaining the lack of quality in my photos), with the lighting and backdrop done up in understated white tones. Antony eased into the evening with “Where Is My Power,” a b-side to the “Epilepsy Is Dancing” single, taken from Antony’s brilliant new record The Crying Light. Things got a bit more solemn with the touching, eloquent “Her Eyes Are Underneath The Ground,” whose lyrics “In the garden with my mother I stole a flower” took on added significance by the fact that Antony’s mother, father and brother were all in attendance. He alluded to his time spent in Minneapolis by telling a story about walking by First Avenue earlier in the day, realizing the last time he’d been there was when his father took him to see Nina Hagen. He was too young at the time, so his dad had to get him in. Antony laughed when he said his father only stayed for a couple songs. “Epilepsy Is Dancing” was next, and it was a soaring tour de force. It’s truly an epic, heartbreaking track that escalated nicely to a dramatic, stunning finish. “One Dove” gave the band a chance to show off their chops a bit, with a stirring oboe solo that added a gorgeous layer to the song. The show really didn’t have any low points, other than very slight pacing problems, for the song selection was perfect throughout the set, and all the tracks were performed with an elegance and candor that isn’t often found in the music industry these days.

Other standouts from the superb set include “For Today I Am A Boy,” “Another World” and a version of “You Are My Sister” that brought forth audible gasps amongst the crowd around me. It was as moving and passionate as music can be, a touching ode to the dreams of loved ones getting realized, again made even more enthralling knowing that his family was in the crowd. “Twilight” followed, and was simply stunning, made even more so by the accompaniment of the orchestra, who guided the song to its tender finish along with Antony’s skillful piano work.

The night did have some lighter moments, like the bands playful cover of Beyonce’s “Crazy In Love,” that started out simple and sounded quite improvised, but took on added weight as Antony breathed new life into the lyrics and the band provided a steady accompaniment while Antony lost himself in the song. And, when that song was quickly followed by a soulful rendering of “Fist Full Of Love,” the pairing of seeing Antony on Valentine’s Day started making perfect sense. His songs are indeed filled with love, after all, either searching for it or remembering love lost. Either way, it was more of a tender, joyous affair than I was expecting, even with Antony struggling to find words after someone in the crowd wished him a happy Valentine’s Day. He sat silent at the piano bench, explaining how he didn’t have anything special planned, trying to find words to signify the day, and just couldn’t. Later in the show, he encouraged all of us to YouTube the “Hamster at the Piano” video, that the video would be his Valentine’s Day gift to us. Which is silly, in the end, since sharing his music with us was always going to be the best gift of them all.

After a rousing, electrified version of “Aeon” closed out the main set, Antony and his band left the stage to a standing ovation from the adoring and respectful audience, who were stone silent during most of the set, except when Antony invited us to have a conversation with him after he came out for the encore (which never seems to work out well in any show, and didn’t on this evening). Antony rambled on a bit about spoonfuls of peanut butter, and joked about how he had a few lately and was hoping that one of them would be “the magic spoonful that would send him to his grave.” But he was honestly horrified to find out that three people had died in Minnesota from salmonella poisoning linked to peanut butter, and begged our forgiveness for his insensitivity. It was a minor diversion before the encore began with a wonderful version of “Cripple and the Starfish” that again showed the talent and dexterity of the orchestra, who gave the song a mournful edge with their delicate accompaniment. The show finished the only way it could, with a jaw-dropping version of “Hope There’s Someone” that enraptured all in attendance with its stark, plaintive lyrics and Antony’s vulnerable, unadorned plea for someone to be there when he needs them most. It was absolutely beautiful. And everyone that gave the band another standing ovation as they left the stage seemed to agree.

So, spending Valentine’s Day with Antony and the Johnsons wasn’t such an odd pairing after all, with Antony’s honest, heartfelt lyrics playing the perfect foil to all the insincere sentiment being sold to us everywhere we turn. The performance was as sincere and genuine as any I’ve seen recently, and was far and away my favorite show of the young year.

Please see my original review and much more @ www.culturebully.com. Cheers!

There are some rock shows where you close your eyes to avoid seeing the train wreck happening in front of you, diverting your attention from an artist clearly not ready for the stage they are on. And then there are shows, like last evening’s Fujiya & Miyagi/School Of Seven Bells show at the extremely sold out 7th Street Entry, where you close your eyes and let the sound wash over you and take you somewhere else entirely. Especially with the stunning identical twins Alejandra and Claudia Dehez on stage, School Of Seven Bells were best experienced (at least in my opinion) with eyes closed, without their beauty distracting from the music in any way. And both bands didn’t really get up to much on stage, so I let the music do most of the work for me, transporting me somewhere besides the extremely crowded Entry.

School Of Seven Bells opened with “Iamundernodisguise,” the first track on their excellent debut full-length Alpinisms, and right from the get-go, it was clear that guitarist Benjamin Curtis was working way too hard on his various effects pedals and knobs without having the sound in the room reflect his efforts. His sounds were buried too deep in the mix, and the vocal harmonies of the Dehez sisters, while pleasant enough, overwhelmed their sound and made a lot of their songs sound similar as a result. Perhaps it’s a conscious effort by Ben to not dominate their ethereal sound with his guitar work, because their mix was the same when I saw them open for M83 at the Triple Rock a couple months ago. But, in my opinion, their music suffers a bit under that arrangement, for he’s way too talented to be relegated to merely a bit player in the group, and their album is filled with varied and interesting sounds that he creates which don’t come across nearly as clear when performed live.

That’s not to say that the show wasn’t without it’s highlights, for when the band hit their stride, the music is quite intoxicating. “Wired For Light,” “My Cabal” and “Connjur” were all enchanting sonic experiments that worked well in the live setting, and filled the club with the band’s airy sound. On record, the band’s sound is much more soaring and exalted, but those heights aren’t quite reached by their live set. Their songs are enjoyable, but ultimately don’t really go anywhere all that interesting in the end. I think with more of an impact from Ben, their live sound could match the elegant soundscapes found on their record, but for the time being, their live show suffers from a lack of his guitar and effects in the mix.

Surprisingly, the club cleared out ever so slightly for headliners Fujiya & Miyagi, and those that left missed out on a group that has clearly found their sound and polished it to electronic perfection. The band was tight and balanced, and their sound was superb. During the middle of the Brighton band’s second song, I was wondering why there was even a drum kit set up for the evening, for SVIIB didn’t employ a drummer and up until that point Fujiya & Miyagi weren’t either (they’ve been a three-piece with a drum machine prior to this tour). But new member Lee Adams came out from behind the curtain to sit behind the kit, and helped bring “Ankle Injuries” to a propulsive close. He brought a more natural, organic sound to their music, and in my mind is a welcome addition to the group’s hypnotic live show. Frontman David Best was affable and accomplished all evening, as his intricate guitar work guided the songs, and the “rhythm section” of Steve Lewis and Matt Hainsby gave the songs their depth and atmospheric dimensions.

Touring behind their splendid new record Lightbulbs, their set leaned heavily on their new material as well as songs from 2007’s Transparent Things. Standouts included “Cassettesingle,” “Pussyfooting” and “In One Ear.” Their songs are tightly wound constructions that have a catchy underlying beat that always seems to get heads nodding. But there is quite a bit of space to be found in their music as well, no matter how dense it may sound. And plenty of people in the crowd were free to get lost in that space throughout the show, even though there wasn’t much room available to dance in. Best’s lyrics are rather goofy at times, reminiscent of the often dead-pan delivery of Jermaine and Bret from Flight Of The Concords (especially on a track like “Pickpocket”). The real innovative aspect of the band is their funky, enthralling sound, which was mixed pristinely last night, with all the nuances of their music perfectly audible and crisp.

It was a show I spent a good majority of in my own head, with the music providing a spatial soundtrack to my thoughts as well as conveying me out of the crowded Entry into somewhere much more pleasant but rather hard to define. I think School Of Seven Bells have yet to reach the promise that is hinted at in their debut record, but touring with a taut and focused band like Fujiya & Miyagi will only help them to flesh out their live sound and add dimension to their music. Fujiya & Miyagi have really solidified their sound and nailed down their live show, and when it’s mixed right, as it was last night, their sound can take you to all corners of the globe with their varying influences and styles. Or, it can simply just make you dance, provided you have the room.

Please see my original review, and more of Jon's incredible photos at culturebully.com. Cheers!

I’m sure there were plenty of people in the near-capacity crowd at the Varsity Theater that were surprised with just how funky Lykke Li’s live show was Sunday night. While her album just offers hints of bass and beat driven sounds in favor of an overall more subdued, downcast tempo, her live show is a frenzy of percussion, pre-recorded backing tracks, and a three piece band that really filled out her sound nicely. And that support allowed Lykke Li to dance around the stage like a whirling dervish, constantly beating on symbols placed on either side of her whenever she wasn’t singing. It was an energy that the languid Sunday night crowd at the Varsity initially had a hard time matching, but eventually Li and her band got the crowd moving in what turned out to be quite a rousing set.

Taking the stage alone to the instrumental sounds of “Melodies & Desires,” the opening track from her excellent full-length debut Youth Novels, Li proceeded to ease slowly into the opening bars of “Dance, Dance, Dance” before the band hit the stage to join her for the chorus, and really turned the song into a propulsive, drum driven smash that got the show off to a great start. And even though it took a while for the young crowd’s enthusiasm to match the band’s (it was a 15+ show after all), that didn’t stop Li from whirling around the stage, beating her drum stick on whatever was nearby, urging the crowd to let go “because it’s Sunday.” Her verve, and her band’s steady accompaniment added an upbeat, danceable quality to early set standouts “Everybody But Me,” “I’m Good, I’m Gone” and “Complaint Department,” which owes quite a bit of it’s menacing sound to fellow Swedes the Knife.

Li’s boundless energy eventually enlivened the large crowd, who were enraptured by her cover of Kings Of Leon’s “Knocked Up” which she cheekily dedicated to anyone who’s pregnant in the crowd (too bad M.I.A. was at the Grammys). I liked her version much better than the original, and the cover was just a sign of things to come in a set that would feature a few surprises. Halfway through “I Don’t Mind” she busted into a credible, amped-up cover of Lil Wayne’s “A Milli” that finally got the response from the crowd that the shy, Swedish chanteuse had been looking for all night. That communion with the crowd really propelled the end of the set to great heights, with “Let It Fall,” “Little Bit” and “Hanging High” really benefiting from the energetic reworkings of her full-band live show. At one point she got part of the crowd to sing along in French to the chorus of “Window Blues,” which is no small feat, even around the campus of the U. And, by the time she got to the raucous set closer “Breaking It Up,” she had the room electrified and entranced by her sultry, smoky vocals and captivating stage presence. “Breaking It Up” was another example of how her songs turn into club anthems through her enlivened live show, and that adds a depth and moxie to her songs that aren’t quite as evident on record.

She came back out solo at the start of the encore to sing a tender version of “Time Flies,” before the band joined her on an absolutely stunning version of “Tonight” that was the highlight of the set for me. The song is a real showstopper, and her achingly beautiful version last night will stick with me for quite a while. It was just perfect in every sense of the word. But the party wasn’t over by a long shot, as the familiar bass-line to Lou Reed’s “Walk On The Wild Side” echoed off the walls, along with Li’s melodic “Do-do-do, da-do, do-do-do” that ushered in what I immediately recognized as her lively cover of A Tribe Called Quest’s classic “Can I Kick It” that really set the place off. It was a great way to end the nearly hour-long show, and drove the point home even further that Lykke Li is indeed funky, and can bring the noise when she wants to. I wouldn’t be surprised to see that hip-hop element permeate her music more in the future, and look forward to hearing how her style evolves over the course of her next couple of records. No matter what direction Lykke Li chooses to take her sound, she’s got enough variables and influences involved to keep all of us interested for quite some time to come.

Please see my original review, along with more of Jon's fantastic photos and Brody's great vids on culturebully.com. Cheers!

Last night was a true hometown celebration in downtown Minneapolis, with local bands Solid Gold and Tapes ‘n Tapes managing to completely sell-out First Avenue’s main room (and then some). The large venue allowed Twin City music fans the opportunity to pack the club and show their love to both bands, and gave the groups the chance to fill the room with the sounds and spirit that have garnered them all of the acclaim in the first place. Tapes ‘n Tapes have already made their way rapidly up the musical hierarchy and from all indication Solid Gold should soon join them on the national stage—last night’s entertaining and energetic show was further proof why both bands warrant all of the attention and accolades.

Normally, when you have three bands on the bill for a show at First Ave., people are still filing in while the opener is finishing its set. Friday night however, the club was good and packed by the time Solid Gold took the stage. That must have been quite a confidence boost to the band (who were playing one of their largest Twin Cities shows to date), because they came out sounding tight and focused, with their mix sounding superb and their smooth sound easily permeating the entire club. By the time they played their second song of the night, “Armored Cars,” they were settled in and the club was theirs for the taking. They rattled through most of their stellar debut record, even playing one new song that fit seamlessly into the flow of the set, and other than thanking Tapes ‘n Tapes for having them as openers, kept strictly to the music.

Tapes ‘n Tapes selecting Solid Gold to open the show was quite a smart move, and certainly no accident. Their longer than usual set (for an opening act) confirmed not only that they were a local band that Tapes were generously providing a larger stage (and audience) to for the night, but also that the band has the kind of sound and appeal that can fill First Ave. on their own, which I’m sure they will soon. I’m curious to see how they go over in Austin for SXSW but based on their captivating performance last night national success should be imminent. And these guys certainly deserve it for they have crafted one of the most unique and listenable local records in recent memory with Bodies Of Water, and have an enthralling live show to match. Solid Gold were given a golden opportunity to play to a full room at First Ave. and they stepped up and delivered a knock out set to an admiring audience that will most assuredly propel them on to bigger and better things.

Following Solid Gold’s set would prove to be a difficult affair for any band, and New Hampshire’s Wild Light, while being a tight live band with anthemic songs and earnest choruses, were a bit of a let down after such a stirring opening set. Under different circumstances their sound and style would perhaps be more engrossing, but I found myself anticipating the headliners more and more as their set progressed. “California On My Mind” is a hell of a song though, and was the highlight of their set for me.

With the club now packed well beyond capacity, Tapes ‘n Tapes didn’t waste any time in tearing into the beginning of “The Dirty Dirty” before the projection screen covering the stage was still rising, starting a fiercely paced set that rarely let up all night. Due to incessant touring and a burgeoning familiarity with their material, they have become an even tighter band since I last saw them headline the main room last year. Their sound last night was buoyed even more by the addition of drummer Jeremy Hanson’s brother Jacob on guitar during part of their set. It was clear right from the start that the boys were on point and out to set fire to the place, tearing through early set highlights “Hang ‘Em All,” “The Illiad” and “Headshock” without so much as a word to the capacity crowd nor much of a chance to catch their own breath. It was a blazing start that was inevitably bound to subside a bit, as it did with “Conquest,” which finally allowed front man Josh Grier the time to acknowledge the capacity crowd and thank us all for coming.

After a sped up and feisty version of “In Houston,” the set really took off with the rousing one-two punch of “10 Gallon Ascots” and “Insistor” that reminded me why these guys blew up in the first place. They tore through these familiar songs with the same intensity and energy that they did when the songs were first written, fleshing them out with a grittier sound and a potency born from years now spent on the road. Josh went on to say that this is the first time they’ve played Minneapolis while being in the middle of their tour, and it was nice to be home after three weeks on the road. The band also debuted a few new songs during their set that had a fresh and lively sound that will fit right in with their varied and distinctive catalog.

The set did have a few lags in energy (it would have been nearly impossible for any band to keep up that level of ferocity all evening), so while songs like “Demon Apple” and “Say Back Something” were good additions to the set, they just lacked the whip-crack potency of the earlier part of the show. That strength of sound returned quick enough, though, with the slow build of the cacophonous “Manitoba” and the frenetic set closer “Jakov’s Suite” that had a good part of the capacity crowd thrashing right along with the band. The encore was as tightly wound and focused as the main set, with the band wasting little time backstage before storming back out to play spirited and explosive versions of “Cowbell” and “Just Drums” that proved to be a perfect finale to a set that found the local band showcasing their continually evolving talent and dexterity before an audience that has been rooting for them since the beginning.

And that’s what the night ultimately became—a celebration of two local bands that, while already having achieved great things, are hopefully both bound for more. And if all goes well, the enormous crowd that greeted them at First Avenue last night will just grow in numbers and stick with them every step of the way. I know I will.

Please see my original review with many more of Jon's great photos at www.culturebully.com. Cheers!

There is an underlying sense of optimism at the heart of Bruce Springsteen's new record Working On A Dream, and while the album itself shies away from the overt political nature of his last two releases, that optimism perfectly reflects the new day dawning in American politics. And, just like what I anticipate happening during the Obama Presidency, there are glaring bumps in the road during the record, but the road itself is at least heading in the right direction and filled with triumphs.

The album starts with the grandiose "Outlaw Pete," which, at exactly eight minutes, is twice as long as every other song on the record. While it carries significant lyrical weight and emotional depth, I just can't get past the puerile opening stanza that includes the lines "at six months old, he'd done six months in jail. He robbed a bank in his diapers and his little baby feet." The song goes on for over seven more minutes, and becomes an interesting examination about whether or not someone can be born evil, and if so, can they be redeemed, but it loses me every time with that somewhat preposterous opening. The album really picks up on the second track, the rowdy and upbeat rocker "My Lucky Day," that is the album's first single and is classic Springsteen. The driving guitars and keyboards ring in harmony with the Boss' hopeful lyrics, and when Clarence Clemons' resounding sax solo kicks in the track becomes golden, and is the highlight of the first half of the record.

 

The title track is also classic Bruce, a brooding and heartfelt number that remains potent despite the overuse of the "Working On A Dream" phrase, almost to the point of distraction. "Queen Of The Supermarket" is another misstep, a sappy love-letter to a girl at a grocery store that is so obvious in its earnestness that it's downright embarrassing. The song isn't helped at all by Brendan O’Brien's heavy-handed production, either; he's obviously going for an anthem here, and you know it. And, by the time I heard the heartbeat like beeps of the checkout line at the end of the song, I was cringing and waiting for the next song to start. Unfortunately, the next track, "What Love Can Do," is a slight and innocuous  number that is over before you can really develop any attachment to it. It's somewhat of a Springsteen by the numbers song that really didn't make any real impression on me, other than being the song after the horrible "Supermarket."

"This Life" is a marked improvement, with passion imbued in Bruce's vocals, and a chorus that elevates the song instead of dragging it down, and the track really gets the album swinging back in a positive direction. And that momentum carries into the next song, "Good Eye," a bluesy foot-stomper that features feisty, growling vocals from Bruce, as well as his Southern-style harmonica work. It's an unexpected shift in tone on the album, and is a welcome blast of energy to the second half of the record. "Tomorrow Never Knows" is a simple song, with simple little life-lessons packed within, but the cribbing of the title from the Beatles song of the same name bothers me, especially when the straightforwardness of the Boss' song is contrasted with the broad experimentation of the Beatles track.

 

"Life Itself" gets the record back on the right track, and represents O'Brien's best production work on the album, with the layered, backward guitars giving the song a dark edge that augments the searching, questioning lyrics dealing with what life holds for all of us when we're confronted with what we want versus what we need to survive. It's a stirring, stellar track. "Kingdom Of Days" continues this theme, but to a lesser effect, with O'Brien's production actually making the song sound rather generic and middle-of-the-road, and, when followed by "Surprise, Surprise," it represents the album's low point. Perhaps with more time or more editing (Working On A Dream is Bruce's second album in a scant 15 months), these songs would not have made the final cut.

But again, Bruce and the band rebound nicely and close the record with perhaps the two strongest tracks on Working On A Dream, the elegant and forlorn "The Last Carnival" and the sublime "The Wrestler," which closes out the Mickey Rourke movie of the same name (and was recently robbed of an Oscar nomination). These two tracks, while not nearly as optimistic as the rest of the record, represent Bruce at his best, telling a moving story with plain-spoken but profound lyrics that we can easily apply to our own experiences.

 

It has always been somewhat easy to find a piece of myself and my story in Bruce Springsteen's songs, and that remains part of his appeal, even after 16 studio albums and countless accolades. He paints characters and surroundings that we can all recognize, and colors those images with emotions that are authentic and sincere. And while most of this country is caught up in a wave of optimism, Bruce has released another record that taps into the collective consciousness of a people desperate for something good to happen. He cautions us, as does the President, that not only is it important to keep dreaming of a better day, but that there is hard work to be done as well. None of Bruce's characters ever get things done easily, and the journey is often as important as the destination, and this record is full of those cautionary tales. There are certainly missteps to be found on the album, but taken as a whole, Working On A Dream is yet another successful chapter in the great American songbook of the Boss, and it is sure to have people singing along as they work on making their own dreams become reality.

Please see my original review of this record at culturebully.com.
   

“So, I heard it was even colder here last week,” Annuals guitarist Kenny Florence quipped at the beginning of the Raleigh, North Carolina band’s set at the Varsity Theater last evening, “That’s fucked.” And indeed, warming up was a bit of a problem for the band during their uneven but enjoyable kick-off show of their Winter tour.

Granted, I am a bit more familiar with the six-piece’s debut record, Be He Me, than I am of their new record Such Fun, so the older songs were bound to resonate slightly more with me, especially when the band tried out somewhat different arrangements of their earlier tracks that really seemed to breathe new life into the songs, like a fervent, propulsive “The Bull And The Goat,” and a stellar “Complete And Completing.” And that is part of the appeal of the Annuals—that they are so diverse and wide-ranging in their songs and structure that they remain a tough band to peg. But that can also make for a bit of an erratically paced live show, with one song sounding so different from the next that it becomes hard to build any consistency.

The show kicked off with a decent version of new track “Hot Night Hounds,” but the night really began to pick up for me with the second song of the set, the bouncy and entertaining “Carry Around,” though it was a bit muted compared to the cacophonous recorded version. The band seemed to take a lot of risks with the production of their debut album, and that recklessness is what makes them so appealing to me, but their live performance last evening was a bit too tight and refined at times for my tastes. I missed hearing the seemingly incongruous parts of their songs fit together somehow. But there were highlights, in addition to the songs already mentioned above, like “Confessor,” the Paul Simon-ish “Hardwood Floor,” and “Sore” from the Wet Zoo EP, and a lovely version of “Sway” that really allowed for the band to experiment musically.

The highlight of the set for me was always going to be “Brother,” the song that first got me into the band, and the track that continues to be my favorite of theirs. It’s a song guided along slowly by the Annuals always emotive frontman Adam Baker (as are most of the band’s songs), and it builds gradually in both rhythm and emotion, before it all spills over into a raucous finish that hooks me every time. It’s a track that initially caused the blogosphere to invoke (somewhat unfair) comparisons to Animal Collective and Arcade Fire. And, while there are elements of each of those bands in the music of Annuals, such as the somewhat tribal drums of Animal Collective and the emotional bombast of Arcade Fire’s music, Annuals have paved their own path. While that works brilliantly on some of the band’s more distinctive tracks, other songs that are more benign lose me just as easily. The band obviously took a more organic approach to their sound and the recording of their new record, hinted at by the serene mountain landscape pictured on the cover. Although some of these songs fit easily alongside the best tracks from Be He Me, some never quite coalesce fully for me, and that transfers to the band’s live show, where I found some of these new tracks a bit bland and conventional.

With six members on stage, there are times when the Annuals make one hell of a splendid racket, creating distinct sounds that take the listener along with them on the song’s journey, but it’s when the band leaves the listener behind on much more mundane musical territory that their songs begin to suffer. Here’s to hoping that Annuals return to the more experimental leanings of their first record, for that is where their strengths lie, and it is that sort of innovation that truly makes them unique.

   Annuals Set List:

Drum Intro
Hot night hounds
Carry around
Confessor
Down the mountain
Interval
Sway
Hardwood Floor
Fair
Complete of completing
Interval
Chase you off
Springtime
Around your neck
Sore
Brother
Wake

(Two song new album encore)

             Thanks to Paul P. for the set list.

Also on the bill was Jessica Lea Mayfield (I unfortunately missed openers What Laura Says, who I heard were fantastic), who played a passionate, spirited set filled with songs about relationships and walking away from the ones you love when they deserve it. She’s a gifted songwriter that reminded me a bit of a feistier Beth Orton, and her music is filled with soul and yearning, which was given a jolt by a drummer and electric guitarist who joined her on stage after a few acoustic solo tunes. Jessica is quite talented and poised on stage, especially when you consider she’s only 18. She has already sung on The Black Keys most recent release (Dan Auerbach also produced her record), and I expect tremendous things from her in the future. If she comes back to the Cities, probably as a headliner next time, don’t miss her. She is the real deal.

Please be sure to check out my original review of the show, along with more of Jon's fantastic photos at culturebully.com.

A loop of a robotic voice repeating the phrase 'You can dance' greets listeners at the beginning of Animal Collective's Merriweather Post Pavilion, the bands ninth release, and easily one of the most anticipated records of 2009 for the indie set. And it's a mantra that fans should take to heart while listening to the album, which is quite dub-heavy, propulsive, and, indeed, danceable at times. It certainly is the most immediately accessible record from this excellent but often inscrutable band, and has divided listeners and critics already, despite only officially being released on January 20th (the vinyl was available Jan. 6th, and the album leaked over Christmas). There is an optimistic tone to this record that I was drawn to upon first hearing it, and that has stuck with me through repeat listens-perhaps it was just a desperate need to latch onto anything 'sunny' during these cold winter days, maybe it was just the fact that this album became the breezy, dreamy soundtrack to a string of idle days. Whatever the case may be, I've been playing this album continually for weeks, and it has won me over with its textured layers of Beach Boys-influenced buoyant pop, bass-driven dub, jumbled psychedelia, and dynamic sound excursions.

"My Girls" is as straightforward and coherent a song that Animal Collective has ever released, and while that might vex fans of the bands more experimental earlier work like Sung Tongs, it's really hard to deny the appeal of this track, with Panda Bear singing heartfelt lyrics about not caring about superficial things, but still wanting to provide a proper home for his girls. And the band continues the strong start of the record with the bold, innovative "Also Frightened," my favorite track from the album. It's five minutes of bliss, despite the unsettling lyrical undertones. Avey Tare, Panda Bear and Geologist are still taking chances musically, albeit slightly smaller ones than earlier in their career, and expanding on the sonic parameters that seem to apply to them, and them only.

The second half of the record is a bit more onerous and dense than the slightly more conventional (for Animal Collective, at least) first half, with the lyrics becoming less meaningful and forming more of a collage with the music, and finds the band toying with the boundaries of sound and structure. The result is a captivating sonic experiment that rewards more upon repeat listens, with pliable songs that provide plenty of depth and spectacle. Merriweather Post Pavilion is sure to land on many year end Top Ten lists, despite being released so early in 2009, and deservedly so, for this record delivers on many different levels, and lives up to, and in my mind exceeds, the lofty and often preposterous expectations of the blogosphere.

Please check out Culture Bully's Four-Takes for three more opinions about this record here.
 

Normally, the best way to witness a band becoming more confident is during a live performance, while watching the group get a feel for the room and the crowd, and hearing their songs become more self-assured as their stage legs become steadier. It’s a rare thing to actually hear a band building confidence as their record progresses, finding their voices and gaining poise from one song to the next, but that is precisely what happens on the Absent Arch’s strong debut record Keep Calm And Carry On.

The songs become more composed and balanced, and the vocals grow more affecting, as the album proceeds, building in intensity as the band finds its footing. Given the intimate sound of the songs, and the band’s attempt to capture the energy and urgency of their live performance while recording in a dingy basement, it’s easy to view the record as a progression through a set list, with emotion and spirit building with each song. Will Markwardt’s raspy vocals ground the songs solidly through lyrics that are infused with convincing characters simply searching for something real; to be feared for their firearms (”Little Kids”), as well as regarded for their once-tailored suit (”Tatters & Thimbles”). It’s quite easy to relate to and recognize the subjects of these songs, which only adds to the bond the listener can form with this album.

The bare bones folk and roots sound of the arrangements wouldn’t necessarily work so well without Markwardt’s stirring vocals, as well as the risks the band chose to take with the production on the record. Anthony Poretti’s drums occasionally sound like they were recorded in a distant room, and the backing vocals sound at times like they are being shouted from the roof. Brian Voerding’s subtle trumpet and Poretti’s stellar but sparse drum fills add depth to the overall emotion of tracks like “No Titles…None At All,” the centerpiece of the ten song record, and the point where the band really hits their stride. It’s a song I’m still trying to decipher, but it takes me somewhere every time I listen, which is all we can really hope for from good music.

“Namesake,” which features Jonathan Waldo’s haunting viola and the steady bass line of Will Garrison, is a benevolent one-way dialogue between a son who just wants to drink and commiserate with his father, finally having the courage to ask him the tough questions that perhaps he wouldn’t when sober. It’s this sort of raw, candid sentiment that really draws the listener in, with the delicate, understated arrangements guiding the songs tastefully towards their end. “Texas, 1935″ is epic, in both length (seven minutes) and scope, and its grand image of a boy and the poem he wrote and nailed to the wall next to his bed, has stayed with me in the way only distinctive lyrics do, and becomes what I visualize as I listen to the track, with the Dust Bowl raging just outside the window. It’s a lovely song.

The Absent Arch have crafted an album rich in both mood and melody, creating indelible images and memorable songs that seem to sound slightly better with some snow falling outside. I’m curious as to what direction the group decides to take their sound in the future, but for right now, Keep Calm And Carry On has definitely taken its place as the most assured and memorable record amongst the wealth of great local releases within the past year.

The guys and I at Culturebully.com are sponsoring a free performance by the Absent Arch @ the Acadia Cafe in Minneapolis. Stop by if you can. 

Oxford, England's Foals are in the process of recording a follow-up to last year's excellent debut 'Antidotes,' and have made some of their early mixes available for free download via their MySpace Blog. The songs are mainly instrumentals, but have the beats, spaciness, and energy of their earlier material, and have me looking forward to their forthcoming record quite a bit. Their show at the Entry back in April was quite entertaining, so I'm intrigued by anything this young band gets up to. Here's their strange video for 'Cassius,' from their debut album.

 

I have no idea why it's taken me so long to discover Scotland's Frightened Rabbit, but thankfully I have, and suggest all of you do as well (unless you're way ahead of the curve and know/love them already). And, for your holiday enjoyment, I have embedded a video of two of the Rabbit's playing a sparse and emotional version of their new Christmas song 'It's Christmas So We'll Stop.' Enjoy, and have a Happy Holidays.