i see paris/ i see france/ i see you makin' the face again.

I have a harder time finding kindred spirits in the indie rock of today versus more post punk and britpop influences. So I refuse to let my writer's block keep me from posting about one of my favorite current bands!  Tokyo Police Club is a group that I've been waiting to hear live since my ears first stumbled upon "Breakneck Speed" and "Wait Up (Boots of Danger)" [from Champ (2010)] in a friends car back in the day. Nostalgia is one of the biggest factors in what music really resonates with me and Tokyo Police Club's lyrics tend to strike that factor. Thinking back to that moment in the car, I probably had a different initial reaction than my current feelings to the lyrics "I remember when our voices used to sound the exact same/ Now we just translate.", but I was definitely drawn to the songs immediately.

Going into the show on May 13th at Black Cat, I tried not to let my hopes get too high. So many album reviews were saying that the newest album Forcefield (2014) pales in comparison to "their best album" Champ. In my eyes, this is a wrong way of looking at a band, but I can be guilty of it too.  I try to go in with a clean slate and welcome an evolution in sound, so I had been listening to Forcefield to prepare myself. A show is never as fun for me if I don't know most of the songs and I grew quite fond of "Argentina", "Hot Tonight", and "Miserable". The riffs,  rebellion to inhibitions and pretension, and still-solid lyrics were aesthetically pleasing to me. The live show turned out to be energetic and diverse. They played a good mix of their music from over the years and was authentic with just the right twist. Dave Monks has the perfect onstage balance of nervous energy, humor, and even the balls to come out and sing "Tesselate" acoustically with no microphone. This would be a band I would love to tour with or work with in any capacity.

breakneck speed live at black cat

hot tonight live at black cat

setlist

wait up (boots of danger) dog music video

argentina lyric music video

pps.
"we share bottles we share gum/ when you smile you smile with all your teeth at once/ and when you smile with all your teeth/ yeah i'm done."

the walkmen go out.

The Walkmen's performance on Saturday night was their last DC show before a self proclaimed "extreme hiatus". I was excited to finally see them, yet sad that it would be under those circumstances. We did not know going in that the new Dock 5 at Union Market venue was outside. The cold had us questioning who would book an outdoor venue in DC the day before December (with only one bar!!). Luckily, The Walkman delivered with their performance.

The group was able to captivate a freezing audience with their hits. My favorite of which was the closer "In The New Year". In hindsight, I wish I hadn't left before the encore.

setlist
in the new year

picture me and then you'll start watching/ watching forever...

July 28th's New Order show at Merriweather Post Pavilion was easily one of the most captivating performances I have ever seen. At times I was in tears at the aesthetic produced by the combination of sound and visuals. New Order's unique blend of post-punk, dance, and alternative electro came to life on stage, egged on by an eagerly awaiting crowd. Even after all this time, the songs still sound perfect. "Age of Consent", "Bizarre Love Triangle", and "Blue Monday" really brought the memories flowing back. The finale of "Temptation" was my personal favorite, and really got the people going.

The three songs used for the encore continued to break with the rumor that Bernard Sumner doesn't like to play Joy Division. The encore ended up being a tribute of sorts to Ian Curtis. As time goes on, it is most apparent that Sumner and Curtis both played integral roles in the Joy Division post-punk sound and writing process. Sumner was able to carry out an unparalleled style of music after Curtis' tragic suicide. While former bassist Peter Hook is not pleased that his band mates are going forward as New Order, his solo work does not quite conform to the same standards.

All in all, this show had everything it takes to be epic. Nostalgia, great music, stage presence, visual appeal, and positivity. I hope for the opportunity to see New Order perform again.

setlist

rip imperial china.

I was fortunate enough to catch the tail end of Imperial China's final show Wednesday night at the Black Cat. Rushing over after work afforded me to hear the concluding three songs and it was totally worth it. Their individual blend of electronic samples, guitars, and resounding percussion created a pleasant post-punk product. This is unique because they were able to sound much bigger than a three piece. This show was no different, as everyone was hyped on stage and playing with exaggeration.

Many old-school DC heads were in attendance for this last hurrah. Folks returned from Pennsylvania and California in order to catch the band's last moments. It was great to see them go out in style and with a positive attitude. Having known the split was coming, they were able to plan a blowout last set that concluded in throwing the drum kit through the wall and selling leftover merch for "whatever you want to pay".

for more on their background/ the last six years:
washington post
washington city paper

new york got me.

Earlier this week I headed up to NYC to meet up with friends and have a pseudo-vacation. This trip reinforced my plan to branch out of DC. The increasingly underwhelming art and culture scene in Washington suffers from an overbearing focus on politics, the transient nature of the area, and lack of venues to create/debate cultural dialogues. Three days in New York revitalized me from my stupor and gave me faith that I can stop my laziness with a little inspiration. I was always the person who said I like NYC as a place to visit, but could never picture myself living there. The fast pace, which was a deterrent in the past, proves to be more of a motivator.  At this point, it seems like leaving DC is possibly the best option to make some strides in my aspirations.

On a less serious side, here are a few things to check out in NYC on any random Sunday:
*Start with spectacularly delicious margaritas and Mexican at Barrio Chino.
*Meander to free shows in the lobby at the Ace Hotel- picture ambient electronic sounds (Ghenghis Hans & Color War were there the night I went), kitschy decor, a bar, and the bustle of a busy hotel environment.
*Try to get into "Not Your Standard Bingo" at the Standard Grill- huge punch bowl, bingo, karaoke, dancing on tables, shots, shame, general tomfoolery and camaraderie. 
*Finish off the night with a trip to the swanky and sexy Le Bain on the rooftop of the Standard.

PS. My new favorite song- "No Angels".

i'm not asking for a storm.

I am about a year late on this record and album, but it is too good not to write about. First Aid Kit are Swedish sisters (Joanna and Klara) with a knack for American folk music. "Emmylou" is a single off of The Lion's Roar (2012). I highly recommend the whole album.

The concept and artistry in this song is something that I rarely find. Rich harmonies and steel guitar relay the haunting story of Gram Parsons and Emmylou Harris' partnership along with the great love and influence June Carter and Johnny Cash had for one another. Nostalgia comes flowing from the video, which was filmed in Joshua Tree where Parsons requested his ashes be scattered when he died young at age 26. The sisters somehow just "get" it.

they make patti smith cry
the lion's roar live

sound city.

Dave Grohl has directed a documentary about the legendary Sound City Studios. Formerly in Van Nuys, California, Sound City produced more than 100 gold and platinum albums from 1960 until closing in 2011. Artists included Neil Young, Buckingham Nicks, Fleetwood Mac, Tom Petty, Pat Benetar, Rick Springfield, Nirvana, Rage Against the Machine, Red Hot Chili Peppers, Johnny Cash, and more. Grohl intertwines first person accounts from the artists and employees with historical footage and a soundtrack of songs recorded at the studio.

What really resonates in this film is the technological shift from analog to digital and its influence on the studio, artist, and recorded music in general. The Neve 8028 console was innovative in 1973 at the time it was purchased by Sound City for $75,000. It played a large role in fostering the unique production and drums present in recordings. Problems arose when analog techniques could not stand up to Pro Tools and its earlier incarnations. Computers came into the picture, tape turned to compact disc, and studios were expected to do a complete overhaul to keep up. Sound City kept afloat as long as they could after the change, but in the end they simply didn't have the funds or business to stay open. Grohl ended up purchasing the console and producing a reunion album bringing together Sound City artists.

The debate on digital v. analog is complex. There are obvious innovations made possible by digital recording techniques. It is easier to fix mistakes or chop up parts of a track and put them back together. From hip-hop sampling to auto tune these new possibilities leave me with mixed feelings. A part of me prefers analog methods because it forces the artist to be good at their craft. As a singer, I think it's important to actually be capable of performing the music that is being put out under the artist's image. Otherwise, I'm supportive of new additions allowing music to progress in different directions. Digital technology has progressed to a point that home recording is a reality for the masses. I truly do appreciate that I have professional-level production at my fingertips for a nominal fee.

i got it, you got it, she's got it.

I haven't been to a show in a while, partially due to laziness and apathy to the current popular music. My friend and I had planned on attending Hopscotch festival, but that plan got sidelined as well. When I found out that festival headliner The Jesus and Mary Chain would be playing at the 9:30 Club I jumped at the opportunity to see one of my favorite bands who of course broke up in 1998/99 and have been playing sporadically since then.

The audience of the sold out show was more diverse in age than you would see at most 9:30 events. It was nice to see everything from original fans to younger people who discovered them after they disbanded. Reunions are tricky, as is the controversy of fifty year old musicians taking the stage. Watching recordings of The Jesus and Mary Chain at Coachella in 2007 I wasn't pleased with the sound and so it's a bit nerve wracking to think that it might not be up to all the hype. Well, they surpassed my expectations.

With these types of shows the vibe can be more important than the song choice. For a band notorious for acrimony, they seemed appreciative towards the crowd and put on a great performance. I would have loved to hear more from Darklands (1987), but as the band explained they wanted to put together a setlist full of crowd-pleasing hits for this tour. It was an enjoyable show and I hope they put out their new music soon so I can see what direction they are moving into.

setlist

don't have to be so sad about it, people will say.

Another show I thought I'd never see came to fruition last Thursday night. The Glands played a spectacular set at Black Cat backstage. The mysterious band from Athens, GA had suddenly added a short series of tour dates down the east coast.

I arrived to a buzzing section of fans, we were all wondering exactly what we were in for. That turned out to be an epic setlist of most songs off of Double Thriller (1998) and The Glands (2000), including vinyl-only tracks. The guitars and vocals made the overall message of the music even more vivid. Ross Shapiro's sardonic lyrics somehow poke fun at depressing subject matter, making the songs seem more cheerful, but still extremely relatable. These songs make me desperately hope for a new album of someone else explaining my feelings to me. Regardless, it was a priceless show and I'm really glad I got to see them play. They were extremely gracious to the crowd, playing a two-song encore, selling their own merch, and staying to chat.

Below is the gang performing my all-time-favorite: "Fortress".

i will not hear you out, you tried to drown me once.

I have found a bit of a kindred spirit in Trevor Powers' Youth Lagoon project. The songs are an introspective, honest, and sometimes eerie look at the ups and downs of living and emotion.



"For my whole life I've dealt with extreme anxiety." says Powers. "Not anxiety about passing a test or somewhat normal things, but weird.. bizarre things. Things that only I know. I sometimes feel like I'm literally being eaten up inside. So I started writing these songs. Not just songs about my anxiety, but about my past and my present. Songs about memories, and all those feelings that those bring. I know that if I can be honest about what is inside my mind, there will be others that will be able to relate to it."

and i'm asking you, can you still love me...

Photo by Anouck Bertin.

Colonel K Speaks informed me this afternoon that Ramesh Srivastava has recently released a solo EP. This is exciting because its the first music he's made public since the dissolution of Voxtrot.

The following tracks can be streamed on his website:

1. the king
2. romeo (void)
3. recording heathen earth

As usual, Srivastiva's lyrics and vocals are on-point. He keeps things fairly simple, with strangely pastoral string arrangements and acapella segments. "Romeo (Void)" counters this with electronics and a drum machine. It seems he is experimenting with what sound he wants to move into. I am glad to see him going forward individually and am, for the most part, pleased with the result. I hope these tracks will be up for download/purchase at some point.

bring on the major leagues.

Last Friday night I traveled up to New York in anticipation of finally seeing [one of my all-time favorites] Pavement perform live. I had purchased the tickets almost exactly a year in advance, so I was a pent-up ball of emotions and expectation. I avoided reading about their other Central Park shows, though I did familiarize myself with the set-lists. I got in line at 5:30 PM and grabbed myself a seat...then all I could do was wait.

The Beets opened. I didn't care for them and almost wondered how they gained the coveted spot. They put in a good effort though, and tided us over until Pavement took the stage at 9PM.
I was in awe, it seemed unreal that they were right in front of me. Malkmus presided over his group and Bob Nastanovich provided comedic relief, as per usual. It was great just to see them together again and feel nostalgic. Malkmus's gravelly vocals and guitar antics took me right back to the 90's. It was a marathon set, and they played a little bit of everything. My long list of favorites includes "Elevate Me Later," "Summer Babe," "Frontwards," "Shady Lane," and "Perfume-V". I can only wish they had played my all-time favorite "Texas Never Whispers" and/or Terror Twilight sleeper hit "Major Leagues".

I am glad that I made the trek to NY rather than seeing them at Virgin Freefest the next day. Though there was less intimacy than I would have liked, the show was phenomenal and I couldn't have asked for anything more.

Full setlist here.

THE FINAL COUNTDOWN.

THIS FRIDAY.

NEW YORK.
PAVEMENT.

the end of the "long-winded funeral".

Before last night, I have never gone into a show with such a mixture of anticipation & anxiety, excitement & melancholy. Seeing Voxtrot and knowing it was their last show was somber. I didn't know if they were going to play all the songs I wanted to hear, and I wanted to cement this band into my mind forever. Needless to say, I should have trusted Ramesh and his boys to put on their show.

Setlist:
1. introduction
2. firecracker
3. raised by wolves
4. kid gloves
5. your biggest fan
6. steven
7. soft & warm
8. mothers sisters daughters wives
9. trepanation party
10. rise up in the dirt
11. the start of something
12. berlin, without return
13. wrecking force
14. missing pieces [encore]

The only things I wish they'd played are "Trouble" and "Whiskey," but I took what I could get and am very pleased with what they chose. It was an energetic performance, and I was surprised to see how many new fans were in the audience. The crowd was very into it, and I was definitely singing along. As the night came to a close I started to get sad, but realized I will always have those memories of seeing them play at Siren Fest and the Cat. And I'm sure that Voxtrot will still play a big part in my music rotation.

chaos and the big sea.

"Creation was an indie, but it didn't wear a cardigan, it didn't apologize".

I have a lot of respect for Creation Records. Spearheaded by Alan McGee and his Biff Bang Pow! bandmates, Creation was at the forefront of British indie labels. They were home to so many great artists from the label's beginnings in 1983 until its dissolution in 1999. Cutting records for Felt, Primal Scream, The Jesus & Mary Chain, and eventually Oasis, Creation made a name for themselves out of excessive debaucherous genius.

I prefer the earlier days before Sony bought-out nearly half of the company. It was a straight-up indie label that gave its unique acts a chance to flourish. From jangly British pop to the origins of shoegaze, Creation succeeded in putting out groundbreaking records. There are many compilations that allow the listener to get a general feel for the label. I am partial to the Creation Purple Compilation (1988). The album has a cohesion, but also highlights the musicality of each of the bands. Below are links to some of my favorite tracks.

"Christine" - The House of Love
"It Happens" - Primal Scream
"She Haunts" - Biff Bang Pow!
For Further Reading...

voxtrot FAREWELL tour.

According to Pitchfork, Brooklyn Vegan, and various other sources, Voxtrot have officially announced that they are parting ways. While this saddens me greatly, I can't say that it was unexpected. I am thankful that this tour will come to the Black Cat and I can say goodbye in my own way. These guys wrote songs and lyrics that helped me through any situation or feeling, and really shaped my taste in music. For that, I am eternally grateful, and nostalgic for all of the 2007 shows that made my life.

Voxtrot - "Goodbye, Cruel World" 2010 Tour Dates
MAY 21 - Chicago, IL @ Lincoln Hall
MAY 22 - Appleton, WI @ Lawrence University
MAY 27 - Los Angeles, CA @ Echoplex *
MAY 29 - San Francisco, CA @ Great American Music Hall *
JUNE 3 - Austin, TX @ Emo's
JUNE 23 - Washington, DC @ Black Cat
JUNE 25 - New York, NY @ Bowery Ballroom
* = w/ International Waters (Mitch from Voxtrot)

take it away.

Transient DC is frequently making me say goodbye. These mixes always overlap, but with a slightly different meaning. Here's the latest tracklisting:

1. rip it up- orange juice
2. you'll start a war- the pale fountains
3. killamangiro- babyshambles
4. starrsha- ringo deathstarr
5. blue jeans- blur
6. fortress- the glands
7. just like honey (home demo)- laura reading
8. sixteen- skywave
9. 23- blonde redhead
10. hindsight- built to spill
11. lived in bars- cat power
12. quiet time in my room- delusions
13. i know i'll see you- a place to bury strangers
14. the drowners- suede
15. cabin fever- the brian jonestown massacre
16. texas never whispers- pavement
17. angry mulch- voxtrot

just a note.

i haven't fallen off the face of the earth, but close.
working too much and too late to go to shows. boo.
can't wait for winter music conference.

stewart lupton: a retrospective.

I didn't quite know what to expect from a Saturday night celebrating Stewart Lupton's rich musical and poetic history. I'd been meaning to make it to a Child Ballads show for some time, but there were always schedule conflicts. With a full entourage expected to perform, I was anticipating fireworks, and I got them.

Everyone came on stage dressed to the nines. The show was driven by Lupton's emotion, coupled with Wurlitzer player Lex Paulson's energy. Lupton's voice is unsettlingly calming, and his harmonica adds dimension. I don't mind the rambling poetry and interjections, as I think it adds to the character of the performance. His lyrics are the highlight, and where his true gift shines through. They even played my favorite Jonathan Fire*Eater song, "The Search for Cherry Red," which has been covered by The Kills. As friends joined the stage, it became apparent that Stewart is much more than the drama he is often associated with. He is capable of putting on a great show with interesting music and nuances.

At the end of the night, I picked up the Cheekbone Hollows EP along with a package of other goods. I'm excited to further explore Lupton's work and possibly work with him in the future.

EXACTLY HALLOWEEN take 2.

I would describe Exactly! as the most bloody energetic band I've ever seen. Literally bloody. And Halloween is the perfect time to catch them in their element. This year's show at the Velvet Lounge was no exception, with the usual Christmas lights setting the scene and a "Hall-O-Ween" intro song. I liked 2008's blood and tighty-whities combo, but this year it was men in powdered wigs, tights, and of course blood! Some may dismiss them as gimmicky, but that's what makes them fun. They never take themselves too seriously and it works for them.

To me, Exactly have the best of both worlds: charisma and stage presence, while proving to be genuine and determined about their music. They have made a lot of progress since debuting at SHORTS last year; and even when the music was still in the early stages, the audience could always count on a spectacular show. I like that they aren't afraid to play developing tunes like "Broken Leg" so they can gauge audience response and keep tweaking things. It points to a process where they allow things to evolve on their own to a certain extent, while still putting in the necessary work.

"Dying All Around Us" is my favorite of their songs and it is particularly catchy. A recording can be found on the DURKL mixtape, produced by Judah. Dueling keys and driving percussion are matched with fervent vocals to make up a complete and layered sound. "Jenny's Fine," always a crowd- [and Kigongo] pleaser also never fails to disappoint. Adrian Parsons and Jesse Bishop play off of each other quite a bit, while Cole Sharp keeps everything going at the drum set. Finally, Cole debuted as a vocalist during the final song, a cover of "96 Tears." This show pointed to just how diverse this lot is and how much more they have hidden up their sleeves. All in all, they go for it, and we love them for that.