Postcards from the Pit: Empires / The Constant / Follower, 6/17/2011

Empires, still the scrappy little band of my heart, won’t be on the cover of Rolling Stone this year. They are, however, on tour right now and may very well be coming to a tiny club near you sometime soon. And if you can make it out to see them, you should. I had the pleasure of catching up with them and also some promising local bands last Friday night.

The first opener was Follower, who are so new that this show was actually their second show ever. If the two songs I was able to hear were a reasonable representative sample, they play like a much more experienced band – tight, focused and powerful. Here is one of the three decent pictures I managed to take of them:

IMG_9163Follower

 

Next was The Constant, who are poppier than Follower and Empires, but yet are still definitely rock and roll, and also significantly grittier live than they are online:

IMG_9180The Constant

 

And then it was time for Empires. They started with The Night is Young, a song created during the whole Rolling Stone contest, and then powered through a set that included another song written for the RS contest (Hell’s Heroes) but was mostly a solid mix of  Bang and Howl and included I Want Blood, Damn Things Over, Hello Lover, Spit the Dark, I Know You Know, Voodooized and Bang.

It’s been a year or so since I saw Empires last, and I was once again entranced by the depth and richness of their sound, especially the blues at the core. To me they sound like the essence of certain aspects of Chicago: the stockyards, the sexy menace of mobsters in heavy coats and molls in sleek furs, speakeasies, the rumble of the El, and the snap in the air as snow falls on the mighty river.

These are the two best pictures from the evening:

 

IMG_9221Tom Conrad, intent on his chords

IMG_9218Sean Van Vleet

We Believe in the Spirit of Rock and Roll: Cowboy Mouth / Jon Batiste Band / Sharon Little, High Line Ballroom, 6/9/11

 

Among the many things happening in New York this month is the 30th Anniversary Blue Note Jazz Festival. While I have something of an allergy to jazz – the result of a traumatic smooth jazz experience early in life – but when I saw Cowboy Mouth among the show listings I couldn’t resist.

But first let me talk about the openers for a minute. Sharon Little, who is a tiny person with a big beautiful voice, was first up:

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Followed by the Jon Batiste Band:

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This is only a small fraction of the band; they actually took up almost the entire stage. And they were incredible. Highlights of their set include a jazz-funk rendition of These Are A Few of My Favorite Things, the piano melody shining like a bright beacon amid the horns and drums; a stomp-along funk-heavy Iko Iko; and a sweet sad St. James Infirmary gliding into a tight, focused Hi Di Ho,  Batiste conducting them so gracefully that it was almost invisible.

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And  then it was time for the main event. The one, the only, the joyful ruckus, Cowboy Mouth.

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If you have not seen them before, you should know that there are some things that are not optional at Cowboy Mouth shows, including: putting your hands in the air and waving and/or clapping, screaming, jumping up and down, and otherwise rocking the hell out. Also, they open and close every show by asking each member of the audience to hug the person next to them, whether it is a friend or a stranger. They are totally committed to raucous positivity, and their set was basically a 90 minute celebration of the joys (and sorrows, but mostly joys) of being alive. Their motto is, essentially, Life is too short, let’s rock and roll.

I am terrible with setlists but I know they played Belly, Voodoo Shop, It’s So Sad About Me, Tell the Girl, Everybody Loves Jill (complete with a hail of red plastic spoons), Take Me Back to New Orleans, they closed down with a mash-up of I Believe and Jenny Says, and the encore was The Avenue. There was also a new song, which may have been called Enough Drama. Other highlights included the band leading the crowd in  an Amen chorus for This Little Light of Mine; a spontaneous between-songs burst of Who Dat?, the New Orleans Saints fight song from somewhere in the center of the crowd; and a punk-rock version of Iko Iko.

It was truly an epic evening. Their next tour starts tomorrow, June 16th, in Greensboro, SC, and after that they will be spending several weeks wending their way through the South and portions of the Midwest. If they come near you, go and see them. It will be a good time.

A few more pictures:

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Fred LeBlanc, gleefully drumming.

IMG_9145John Thomas Griffith (piano) and Cassandra Faulconer (bass)

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Cassandra Faulconer (bass) and Matt Jones (guitar)

 

IMG_9150And one more of Fred LeBlanc and the fleur-de-lis

Songs I Love Best: Wildflowers

I don’t remember now how I first discovered Trio, the record Dolly Parton, Linda Ronstadt and Emmyloud Harris put out together in 1987, but I know I bought it on tape because I can remember both the garish pink cover, and the number of times I carefully cued up various tracks for mixes. I acquired it again recently – digitally, this time – when I went on an Emmylou Harris collecting tangent and realized I had missed it, somehow, when I was filling in other digital gaps.

I liked the whole thing, by and large – I can also remember singing along (hand stapled firmly to forehead) to The Pain of Loving You and Those Memories of You at various times in high school – but my favorite track is, was, and ever shall be Wildflowers. If (when) I get a tattoo, “no regrets for the path that I chose” will be a part of it. Of course that’s now, when I’ve been walking a while and had some time to actually make some choices; then, it was more about the hope of invoking the appearance of the path.

In any case, bursting with enthusiasm and keen to share it with all of y’all, I then went to YouTube to find a video and on first skim it seemed like there were precious few for the original song. (The two quasi-live performances are 1) a clip from a movie and 2) a clip that appears to be the result of  pointing the camera at the tv set and pressing record.)  A little bit of further digging pulled up this, which at least as a slideshow of pictures of Dolly Parton, Emmylou Harris and Linda Ronstadt through the years:

 

http://youtu.be/aDxrQFrGipo

 

Because I am a magpie, though, I got distracted from my main search by all of the cover versions that I found. The following are a few of the highlights:

This version, by The Clear Branch, is probably the most faithful to the original overall, and the beautiful voice you are about to hear belongs to Signe Salvesen, who moved from Norway to the hills of East Tennessee to study mountain music. She’s accompanied by Clint Riddle (guitar, banjo, mandolin), originally from Decatur, Alabama, with a background in Delta blues.

 

 

In this version, which features just Ginny White and her guitar and was recorded at the  New Harmonies Exhibit, Culp Building, Johnson County Historical Society in Warrensburg, Missouri, it’s stripped down to its barest essentials and transformed into something quite like a hymn.

 

http://youtu.be/-DZH58V8D6A

 

This one, performed by Tuva and The Far-Out Orchestra, and recorded in the Privaten Cafè in Holmsbu, Norway, occupies the patch of ground where indie rock and bluegrass overlap, and tends to slide more towards the indie rock end of the spectrum. Tuva Andersen has a rich, full and flexible voice, and it shines here.

 

Tuva & the Far Out Orchestra - Wildflowers (Dolly Parton)

 

This one, by the Sandy Bottom Bluegrass Band (according to YouTube, they are: Neil – Mandolin, Ken – Guitar, Steve – Dobro, Wayne – Banjo, Rick – Bass, and Denise – Autoharp), of Florida, is a solidly bluegrass rendition; the instrumental underpinning is perhaps a hair or two richer than the original.

 

Wildflowers Dont Care Where They Grow - complete band

 

As I was exploring, I also got to thinking about who I’d like to hear cover this song. Gillian Welch and Dar Williams sprang to mind first, and I spent a good ten minutes contemplating who I’d make the third part of that trio before I decided on Lucinda Williams, though I think Neko Case and/or Alison Krauss might also work well there.

And then my thoughts took a more critical turn. You know it is kind of plinky. Couldn’t we fuzz that up a little bit? Give it some muscle? said I to myself, and I  shuffled my mental deck of voices some more, and came up with Courtney Love, which was actually kind of a stumbling block because the pairings that seem to me to be obvious there (Kim Gordon and Kim Deal) are, shall we say, complicated. Though on further reflection, I’ve decided swapping in, say, Pink and Shirley Manson might produce just the right kind of fireworks.

Now tell me, dear readers, who would you pick?

Postcards from the Balcony: Panic! at the Disco / fun. / Foxy Shazam, Terminal 5, 5/24/11

I was up on the balcony for this one largely in the interest of self-preservation; I don’t do well in large crowds I can’t get out of, and Terminal 5 was almost literally packed to the rafters.

The first band was Foxy Shazam:

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I’ve seen this band four times now, twice on their headlining tour last summer (I went for one of their opening acts and developed an affection for them along the way), once when they opened for Courtney Love (!), and then at this show. Eric Nally whirled around the stage as he always does, but somehow they seemed a little bit subdued. And by “subdued” I mean Eric Nally did a headstand in the middle of a song –

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– but didn’t do the bit where he eats lit cigarettes (which I can’t actually bear to watch). Though I suspect that bit of business was sacrificed due to them being confined to a truncated opening act set. In any case, I was pleased to visit with them again.

The next band was fun., which is Nate Ruess (vocals; The Format), Andrew Dost (piano, keyboard, fluegelhorn, and glockenspiel; Anathello), Jack Antonoff (guitar; also currently with Steel Train) at the core and also currently has Will Noon (drums; Straylight Run), Nate Harold (bass) and Emily Moore (keys/guitar) as traveling with them, and to my surprise they were actually fun. I was surprised because when Aim & Ignite came out I tried to get into their tunes and it just didn’t work. Their live show is strong, however,  and I am still humming bit of the chorus to All The Pretty Girls almost a week later.

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And then it was time for Panic! at the Disco. The last time I wrote about them here was in February, when they played a special show in New York to introduce some of their newer tunes and promote their (unreleased at that time) third record, Vices & Virtues. Up until that point, the Panic!-focused internet (including me) had been collectively hovering over them like a hen with one chick, waiting anxiously for new tunes, and to see if the band had survived the departure of two of its members, including the chief lyricist. The songs I heard that show were promising; the record finally appeared in late March, and I loved it.  As of right now I can tell you: they have caught the thermals and are soaring.

As I noted after the show: now that was a rock concert. They started with Ready to Go (Get Me Out of My Mind) and proceeded to power through a high-energy mix of old and new songs. I was especially pleased to finally hear Hurricane live, and also Memories; and as much as I love Always, I was a little bit sad that Northern Downpour didn’t make it into the set-list this time around.

It was also a visual spectacle. They have new steam-punk stage furniture – Spencer Smith’s kit was perched atop a raised platform that looked like it would be at home in 2000 Leagues Under the Sea, with matching old-fashioned pipe organs on either side -  and Brendon Urie threw himself all over the stage, incorporating some of the dance moves from their recent video for Ready to Go (Get Me Out of My Mind). The rest of the band wasn’t standing still either, and the audience was definitely into it too.

Watching the pit sway and heave, I was both filled with joy to see people pogoing hard and grateful I had claimed a spot in safer territory. And, for those of you who may be keeping track of their tour covers, they did Careless Whisper (instrumental) by George Michael, Panic by The Smiths and Carry On My Wayward Son, by Kansas.

I don’t have that many pictures of them this time around, partially because I was on the balcony, and partially because I was busy trying to dance and not flail all over my neighbors. The following are a few of my favorites from the evening. The first one is from when Brendon Urie came up to the balcony to sing Always:

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And this one is probably the best picture of drummers in general and Spencer Smith in particular that I have yet managed to take, thanks to the spotlight rolling over him at just the right moment:

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And then, finally, a wider-screen shot of the view from the balcony, taken while Ian Crawford (guitar, left), Spencer Smith and Dallon Weekes (bass, right) were waiting for Brendon to return from his balcony visit, and which I like mainly for the atmospheric look of everything, including  the pinpoints of light visible in the pit:

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Postcards from the Pit: Whitesnake

 

I saw Whitesnake at Irving Plaza last week – now there is a sentence I never expected to write – and about two songs into their set, it occurred to me: these are the kind of rock stars I fell in love with the first time. Not these specific rockstars, maybe, what with Whitesnake having been reconstituted several times since they started, but certainly of this general type: the shredding, hair-flying-everywhere, flowing-shirts-and-leather-trousers flavor of musician.

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Though I certainly do have a massive soft spot for Whitesnake in particular, and this incarnation of the band is a solid one. David Coverdale sounds great, and he’s got some heavy metal all-stars behind him, with Doug Aldrich (Dio) and Reb Beach (Winger) on guitars, Brian Tichy (Foreigner) on drums, Michael Devin (Lynch Mob) on bass and Brian Ruedy (Bret Michaels, Brian “Head” Welch, of KORN) on keys.

The set was a mixture of old and new songs – Whitesnake has a new record out! – and from what I could tell they were really enjoying themselves. This is one of my favorite pictures from the evening, taken during the “epic battling guitar solo” portion of the evening, and I love it mainly because Reb Beach and Doug Aldrich are grinning at each other like they have just invented a new holiday and it involves electric guitars:

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In short, it was a fantastic evening. Here are a few more pictures:

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Reb Beach (“former singing waiter of this parish”- David Coverdale) mugging as he shreds

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Doug Aldrich

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Brian Tichy, mid-solo

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L to R: David Coverdale, Michael Devin, Brian Ruedy

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David Coverdale, listening to the crowd sing to him.

Artist I Really Like: Rob Zombie

That’s the sum total of the thesis of this post, y’all: Rob Zombie, I Really Like His Tunes and His Style.  My reasons, in video form:

 

White Zombie - More Human Than Human

More Human than the Human (1995)

This one is actually from when he was part of White Zombie, and was one of the first songs I heard when I started going clubbing in Glasgow in 1996. I’m not quite sure how I missed it before that, but I did. It was definitely a “What is that and where can I get some more?” moment. When I got home I decamped to Tower Records where – this was the downside of living in suburbia when the Internet was still very young – all they had was the remix album, Supersexy Swingin’ Sounds, which was interesting but not . . . quite . . . what I was after.

Puzzled but not put off, I went back to college; meanwhile, White Zombie broke up and Rob Zombie went solo, and eventually put out Hellbilly Deluxe, in 1998. By then I had jumped across the ocean again (for work, this time) and on weekends I was going to places where they played these two songs a whole lot:

 

Rob Zombie - Dragula

Dragula (1998)

Rob Zombie - Superbeast

Superbeast (1999)

 

My favorite part of the video for Dragula is that he seems to be trying to play Grand Theft Auto in a tricked-out Model-T.  Anyway, jumping forward in time a few years: when The Sinister Urge came out in 2001, I was back in the U.S. again, in Brooklyn, and had mostly stopped clubbing.  I moved again about a year afterwards, and discovered that it’s also a great driving music. Never Gonna Stop (The Red, Red Kroovy) is an especially delicious way to start a long trip. And Feel So Numb is the track I frequently put on in the evenings this past semester as I was walking either to or from class:

 

Rob Zombie - Feel So Numb

Feel So Numb (2001)

 

As I’ve been putting this together I discovered I missed a record while I was in (cultural) exile: Educated Horses, in 2006 (whoops!), so my next and last favorite song is What? from Hellbilly Deluxe 2, in 2010. I have been dancing around my apartment to it for a while now, and also, because this is what I do in my spare time, dreaming of ways I would make a video for it. When I went to looking for the “official” video, I found that a) there isn’t one and b) two fierce ladies have stepped up and made their own, complete with really amazing dance moves:

 

http://youtu.be/jUZ8ba1-TZg

“What?” direct by BODYCON, starring BODYCON and Kristina Z (2010)

 

The last reason I really like Rob Zombie fits under the heading of “style” and is this: when I (finally!) got to see him live a year or so ago, not only did he play all of my favorite songs, he also did something I’d never encountered at a hard rock show before: he called a special ladies’ only pit, scolded the dudes who tried to crash it, and gave the girls hanging on the barrier a chance to mosh.

I couldn’t get in it myself – I was back by the soundboard at the time, since I had come  up late, after school, just in time for him to come on – but I appreciated the gesture, and him for making it, because in a very real way, a place in the pit is a place at the table. Thank you, Rob Zombie, for the all of the tunes, and for that moment. I look forward to whatever your next musical adventure may be.

The Bell

Band members (from left to right): Nicklas, Mathias, Jan. Photo  courtesy of Bad Man Recording Co.

The Bell are Nicklas Nilsson, Mathias Stromberg and Jan Petterson, from Malmö and Stockholm, Sweden. Last month they released Great Heat, their second record, which they put together with a great deal  of help from modern technology. I carried it around with me on my iPod for a week or so, and then, intrigued by their beats, made use of technology myself, and had an email chat with Mathias and his bandmates:

Mathias, I see that you sing, but which instruments do the rest of the band play?

Jan and Nicklas play all instruments, but write most of the songs on guitar and keyboard/piano. They fiddle with the computers and then we record vocals (all of us even though I do lead) and produce/mix everything together the three of us.

 

Why did you name the band The Bell?

There really is no specific answer to this question, it springs from a lot of things. From “For Whom The Bell Tolls” by Hemingway, which is just such an excellent title – to just sounding neat. We like the singular notion of One Bell, as well. THE Bell. It sounds alarming and like enlightenment.

 

I checked a map to see just how far apart Malmö and Stockholm are, and it looks like it’s approximately the same distance, as, say, New York City to the tip of Cape Cod, in Massachusetts, or about a six hour drive. I know you managed to record and mix the record while living in the different cities, but how did you all meet in the first place? And also who lives in Malmö and who lives in Stockholm?

Jan and Nicklas are small town boys both geographically and by heart. Jan’s from the north of Sweden originally and Nicklas from the south. I’m from and in Stockholm. Me and Jan go to know each other out on the town, as he used to live here. We realized we were into the same music (and books, films, wine and fonts) so we hung out more and more. Then he moved to Malmö for love.

 

Fonts? Which ones? Which font do you both appreciate the most, and why?

Today I would have to say old Poster Bodoni. Getting that fifties Italian café vibe …

 

Did you ever meet in the middle, as it were, to work on things? Or was the entire record made solely with the help of modern technology?

As mentioned earlier, we did most of the groundwork over the web and then met up to do vocals and production, both in our “home studio” in Malmö and rented spaces both in Malmö and Stockholm. So in short: we were creative online and anal producers in studio.

 

How did you all get interested in this particular kind of dark, drum-propelled synth-pop?

We all got laid for the first time in the eighties. So that’s where our very most primal love lies. For me personally, there was a lot of great synth clubs in Stockholm (and not very much else apart from horrible metal places where you’d get beaten up unless you looked like a muscular transvestite) so when I started to go out in my teens I tended to go to goth caves getting into EBM and electronic stuff. All this sort of evolved over time into more guitar driven stuff such as the Factory and Creation stuff in the late eighties.

 

The Stockholm club scene sounds like an “it’s all ABBA or Opeth” kind of situation. It is an interesting dichotomy, that “Swedish music”, or at least what Americans know of it, swings between two wildly different extremes of bright, bubbly pop and/or dance music and, well, death-metal.

Well, this it was it used to be like. Nowadays we get a lot of different clubs, ranging from obscure indie and electronica to just plain … well, bad stuff. So although I think these extremes exist (even if the death metal scene really is Norweigan rather than Swedish – here, the long hairs do garage rock or sleaze it seems) it is not as it once was.  And for this we’re very thankful. Swedes have always been an extremely open minded people so that narrow mindset does not work for the younger generations.

 

Which episode of Jersey Shore did your song end up in, and which song was it? Have there been any recent placements that top that one?

Can ANYTHING top Jersey Shore??? No but seriously, checking online the episode was called “The Tanned Triangle” … haha. How great is that? We had a song from our last album in Vampire Diaries last spring and a recent placement in No Ordinary Family and hoping to get a few more in the next few months.

 

A Jersey Shore appearance is indeed pretty epic, even if I can’t bear to watch that show at all, not even with the sound off.

I would like to be diplomatic and state that “it’s great that they’re doing their thing” but that would be indicating it had some level of artistic integrity.

 

And then the three that I ask everyone, the modified Proust Questionnaire, if you will:

What was your transformative song – the rock and roll lightning strike?

Matthias: Today I would have to say There is a light that Never Goes Out by The Smiths. It’s when I discovered heart & soul in music. Before that it was all … surface. Obviously, this soundtracked long make-out sessions when I was 14 together with the rest of the tracks on The Queen is Dead. Such a beautiful work of art. After that I realized that the alternative came in different flavours.

Nicklas: I had a friend who had a synthesizer. One evening while he was out in the kitchen eating with his parents I learned to play The Model. I think I was 8 years old at that time. Music became more transparent after that.  I suddenly knew I could play the same melodies and harmonies that were actually pressed on vinyl. Strange and shocking. I still sometimes revisit that feeling when using keyboards today.

Jan: Television – Venus

 

What was your first show (that you attended, not that you played)?

Matthias: Kraftwerk in Stockholm in … 1985, I think. It was fucking excellent.

Nicklas: 1982. A local new romantic band with loads of delay on vocals and guitars. The drummer had a white shirt with lace and very very long sleeves. The volume was so high that I lost my balance every now and then. I can’t remember a single tone they played. But I still want a shirt like that.

Jan: Ian Hunter in my home town of SkellefteÃ¥. I was 10 years old and I desperately tried to copy Ian’s haircut.

 

What was the first record/tape/etc that you bought? What was the last one?

Matthias: The first of any importance was Yazoos You and Me Both in 1983 and the last … I’m sorry, I’m from Sweden. We don’t really buy records. We subscribe to Spotify. But on that note, I listened to The Crystal Stilts new album just a minute ago and that is awsome!

Nicklas: I bought Tintin Red Rackham’s Treasure. Not much good music on that one. But almost immediately I traded it for Kraftwerk’s Radio-Activity. The last one was a pretty lousy demo by a local band. I can’t mention the band name. I know the guitarist.

Jan: Donny Osmond – Puppy Love and The Maccabees – O.A.V.I.P


An example of their groove: Today, from their new record, Great Heat:

Video Grab Bag: Panic! at the Disco, Christina Perri, Industries of the Blind and Empires

This video for Ready to Go (Get Me Out of My Mind), Panic! at the Disco‘s second single off of their new record Vices & Virtues, just came out yesterday, and, you guys, I really just love it so much. Not only is it a great song (turn it up!), but the video is beautifully shot and lit AND there is fabulous choreography. There are also fun costumes, because the whole thing is a visual tribute to musicals, including Grease, Mary Poppins and Singin’ in the Rain. Oh and also SOMEONE GETS SHOT OUT OF A CANNON. It is just delicious.

 

Panic! At The Disco: Ready To Go [OFFICIAL VIDEO]

 

Continuing with the movie theme, this is the lyric video for Arms, from the upcoming lovestrong by Christina Perri, which features words “projected” onto old-fashioned movie screens. I’ve already confessed to typography nerdery; what I especially like about this one is the way the letters shuffle and jump and sometimes arrive as snarled little knots that then expand into words and phrases.

 

Christina Perri - Arms [Official Lyric Video]

 

Next up is music that sounds like it should be in movies, from Industries of the Blind. This video is a teaser trailer for their upcoming record Chapter 1, and so doesn’t contain a full song. It does, however, give you the chance to see all nine (!) of them in action. I haven’t yet had the chance to see them live, but once this semester is over and law school (temporarily) stops interfering with my social life, I’m going to venture out to Brooklyn and catch one of their shows. In the meantime I put it on while I’m working on writing projects, because it is perfect for making all of the other noise in my head settle down so I can focus and concentrate on the task at hand.

 

Industries of the Blind - Chapter 1 promo

 

And in conclusion, a band that I hope gets their Hollywood ending: that’s right, Empires, the little rock band that could/band of my heart, has made it all the way to Round Three of the Rolling Stone cover contest. If they make it to Round Four, they have a shot at playing a battle-of-the-bands style show with the other finalist at Bonnaroo,  and, of course, being on the cover of Rolling Stone.  As an enticement to vote for them as often as you can before the contest closes on May 13, I submit TWO new videos for songs written and recorded during the contest, Night is Young and Hard Times. There is also a third song, Hells Heroes, which is available for free from their website. If you join their mailing list while you’re there, you’ll periodically get epistles addressed “Dear Scholars,” which is one of the very many reasons this band is the band of my heart.

 

 

American Idiot

When it comes to Green Day, I have, over the years, been something of an inconstant lover, prone to casual liaisons (singing along to When I Come Around on the radio in 1994), impetuous tiffs (changing the station every time I heard the opening notes of Good Riddance (Time of Your Life) in 1998) and brief put passionate flings (that time in May 2001 that I made my cube-mate listen to The Grouch on endless repeat every morning until he almost literally begged for mercy) but for various reasons resistant to actually committing.

Then, in 2004, they released American Idiot.

That record was different. That record was the one that I bought out of idle and morbid curiosity (Rock opera? Seriously?), then kept in the player in my car for the better part of several months, where it served as company and comfort during the numerous solitary journeys I made up and down 287 South and I-95, trying to balance work and love and clearing twenty-six boxes of books and assorted other memories out of my parents’ house before they moved. Even now, seven years later, the memory of curve of the road unwinding in the distance and the attendant simultaneous rising and sinking of my heart are inextricably tied to the first explosive chords of the first song.

So when I heard it was going to be made into an actual musical, I was warily elated. The early reviews from the California production were promising, and then, even better, it jumped to Broadway. My Green Day girls who have been going steady with the band since the early 1990s came back from previews in raptures, and my theater people, all gimlet-eyed Broadway audience veterans, were similarly impressed. (The show has since won several awards, including both a Tony and a Grammy.)

The first time I got to see it myself was in late June 2010, when NTSIB friend Cam Rogers visited New York in advance of our larger road-trip to Mississippi. I proffered it gingerly, and he not only agreed to see it but also hauled a suit halfway across the world in his rucksack so that we could have a proper night at the theater. And thus it was that I ended up at the front of the balcony in the St. James Theater, trying not to bang my head (it’s really difficult to hold still during those opening bars) while I absorbed the action and the stagecraft, with several thoughts forming; chief among them was the sudden certainty that this was always how it was meant to sound.

Speaking of stagecraft, let’s talk about that for a minute. The set, which was wall-papered with newspapers covered in graffiti and punctuated by video screens, still managed to look natural and lived-in. The costumes didn’t look like costumes, they looked like things that people I know would (and do) wear. Watching the actors stomp and swirl as they sang, I felt more than thought Those are my people, that is my tribe. Also notable: The soundtrack incorporates some material off of other Green Day records, and, against all odds and in defiance of almost 15 years of dedicated loathing, when Good Riddance (Time of Your Life) showed  up at the end, it struck me as the perfect grace note and I developed a sincere affection for the song. It, too, benefits from being sung with multiple voices.

I went on to see the show three more times – the most times I ever have and probably ever will see one Broadway show – once with my sister, and twice more on my own. The fourth and last time I saw it was a week and half ago, during Billie Joe Armstrong’s third turn as St. Jimmy, and one of the last performances before it closed on Easter. And, while I’m sad to see it go,  the reason it closed, and the reason I’m writing about it now, is an exciting one: it’s going out on tour. The festivities will kick off in Toronto in late December and make a slow march around the country through early 2012. I encourage all of you to check the listings and mark your calendars and go see it.

Strangers: Dark Pop and Twisty Soundscapes

Raife Hacking (drums; left), David Jones (vocals, keyboards; right);

not pictured: Glen Nicholls (producer, programmer, keyboardist, crafter of twisty soundscapes,  and international man of mystery).

 

I’m intrigued by your sound. So, tell me more about the band. Who are you, collectively, and what’s your story?

David: Well the band is a trio, myself and Raife Hacking started working with Glen Nicholls, the producer and also third band member in October last year. We are from the Midlands in the UK originally, but now work from Glen’s studio in North London.

We came together through a love of dark pop music, stuff like Depeche Mode, some Bowie stuff, The Cure, Nine Inch Nails (you’ll hear that coming out more in our new stuff). Glen is a producer/remixer and has worked with bands such as White Lies, Prodigy and Unkle amongst others, and I have been songwriting for a few years, inspired by my love of dark uplifting pop songs. I use the word pop loosely, I guess.

We’re aiming for a big powerful live show which we are debuting in May/June in London UK, and are releasing another couple of EPs over the course of the next few months followed by our debut album later this year.

 

I have a rough idea of where the West Midlands are but, to be honest, almost everything I know about the bits of England that aren’t London I learned from books like Pies and Prejudice and Cider with Roadies by Stuart Maconie, movies like Brassed Off and Billy Elliot and the week I spent in the Lake District before I went up to Glasgow for my junior year abroad. I can look at a map and see you aren’t from those part(s) of England, but: what is your England like? What propelled you down to London?

David: Well, my England was centred around Northampton when I was growing up, which is a large town in the middle of England. I was brought up in a Christian community where everyone shared all of their possessions and lived simply without a television or radio. It meant that I was encouraged to be creative from a very early age. So I’ve been writing songs and playing instruments from about the age of 7.

What brought me down to London was music. I always knew I wanted to pursue a musical career, and London seemed a good place to meet people and go to gigs etc. I also like buzzing places and being part of a city that’s always moving and always vibrant is a great place to be for inspiration.

 

Was your community akin to the Amish? Was London a whole lot of culture shock, or was the separation between the two types of worlds not as stark as the Amish/”English” division tends to be? (The old order Amish here generally refer to the non-Amish as “English.”)

David: The community I was brought up in has similarities, I guess, to the Amish, but only in the way everyone lives together. We all went to normal schools and interact with ‘normal’ society. They just choose to live a simple and humble life as they believe it is how God would want them to live. They call themselves Charismatic Christians. I think my upbringing has influenced me in a very positive way.

 

Are Raife and Glen from Northampton too? Did you call decamp to London together, or meet there? What is their England like?

Glen: I’m originally from Leicestershire, not too far from Northampton but moved to London in 1997.

David: Raife is from Northampton, and still lives there. He comes to stay with me in London every week so we can work on the band, though. Raife is the youngster of the band and we love him for his energy and enthusiasm, and also his crafty beats. I guess our collective ‘England’ is quite similar, we are all from relatively small places and have a desire to do something bigger than the confines of where we are from. That isn’t to say that we’re not proud of where we’re from, and I still really enjoy being in Northampton, it’s a great place with lots of creative people around.

 

Why did you name the band Strangers?

We came up with the name Strangers because firstly we thought it fitted perfectly with our sound and secondly everyone is born a stranger into this world and we really find the concept behind that idea. Also we all interact with Strangers everyday, more so than we ever have, and its a really interesting idea and can be used in loads of different ways.

 

You mentioned NIN as an influence; is that early NIN or later? Also, is that a violin I hear, on one of the tracks?

Yes, that is a violin in one of the tracks. Our producer is very much into ‘filmic’ sounds, by that I mean epic, huge soundscapes, and so he will often spend days coming up with a string part for one of our songs. I think it really works well for our sound. To be honest I’ve only recently got into Nine Inch Nails. I love ‘Hurt’, Closer, tracks like that. Glen is more of a hardcore fan, and he has turned me onto them.

 

Oh, okay, Closer and so on, that’s early NIN. Those are some of my favorites, too! Would it be appropriate to read “dark pop” as a synonym for “gothic”? Or at least as being related to certain strains of gothic music?

I guess there are gothic elements to our sound, but Dark Pop sits better with us as a way to describe our sound at the moment. Some of influences definitely have gothic roots; The Cure, Depeche Mode.

 

[ Strangers ] - In Chaos

 

Where was the video filmed? It looks very dark and pleasantly creepy, wherever it is. Also, how long did take to do it, using just the iPhones as recording devices?

We filmed the video in Holland Park, which is a national park in West London. They are very strict about what is filmed there, so we had to stealth it a bit, and stay ‘under the radar’. It was raining for most of the filming so we were all standing there drenched, trying to get the right shots, it was an interesting day to say the least! We were there for about 3 hours the first time, and then went back for an hour or so a week later to get a few of the shots we missed. It was all shot using two iPhones, yes, and I think we were pleasantly surprised at the quality of the footage.

 

What was your transformative song – the rock and roll lightning strike?

David: A guy who I was in a band with a few years ago played me Depeche Mode Enjoy the Silence and it was literally love at first listen. From there I got really into The Cure and bands like that, as well as purchasing the entire Depeche Mode back catalogue.

Glen: Mine would have to be Head Like a Hole, by Nine Inch Nails, literally blew my socks off!! haha!

Raife: Everlong – Foo Fighters. The first time I heard it I wanted to be Taylor Hawkins, just such an entertaining drummer to listen to, and watch, he’s so animated. Also, it’s just a great track, I’ll never grow tired of it.

 

What was your first show (that you attended, not that you played)?

David: My first show i went to was a local band called Glendon. The guitarist used a food mixer on the fretboard to make some cool sounds, back then that was enough to impress me haha.

Glen: Depeche mode’s ‘Devotion Tour’ in ’93 was the first big concert I went to in London!

Raife: The very first show I went to was to see a Scottish metal band called Mendeed, I was 13 at the time. It was at the forum in Kentish Town, proper battle metal type stuff, there was mohawks and dreadlocks all over the place. Loved it. I really clearly remember just how loud it was, I couldn’t believe PA’s went that loud, pretty sure the ringing in my ears right now is because of that first show I went to.

 

What was the first record/tape/etc that you bought? What was the last one?

David: I wasn’t allowed to buy tapes when I was a kid, as all other music other than Christian music was considered ‘worldly’ and wrong. I used to go round to my mates house and he would copy me stuff that was in the charts at the time.

Glen: Damn! probably Michael Jackson’s Thriller on vinyl and the last was the Inception movie score by Hans Zimmer.

Raife: Nirvana, Nevermind, the most stereotypical album to be a bought by a teenager. I listened to it over and over, really opened up my musical ears. The last one I bought was  Kanye West, My Beautiful Dark Twisted Fantasy, full of great hip-hop grooves, some really interesting instrumentation on some tracks, and a cameo perfomance from Chris      Rock at the end of the last track, couldn’t ask for more.

 

And finally, where will you be playing the live shows?

David: Our first show is May 20th at a new venue called Victory. We are playing this show for Club. The. Mammoth and will be the main support for FOE. Also we are playing at Bull and Gate in Kentish Town, North London for Mybandsbetterthanyours Presents on June 7th.

 

To hear more from the Strangers, visit them at their Website or on Soundcloud!