Ty Segall and Timothy "White Fence" Presley combine their psych rock wonder powers for Hair.
We're back after taking a week off for a little R&R in Mexico last week (sorry Spiritualized and Moonface... we'll get you next time). This week is marked by a lot of classic guitar-based rock influences. Ty Segall and White Fence hole up in a garage for 30 minutes of psych rock fun, while Jack White puts all his appreciation of rock history into his debut solo release. Elsewhere, White's Raconteur partner Brendan Benson returns with an album, while there's noteworthy new releases from Death Grips, Brad (Pearl Jam's Stone Gossard + friends from Satchel), Bad Veins, Diamond Rugs, Toro y Moi, Torche, Battleme, Human Don't Be Angry (Arap Strap guitarist Malcolm Middleton), The Raveonettes, Eddie the Gun and a live album from Peter Gabriel.
For those already familiar with the psych rock of both Ty Segall and White Fence, the side project of Darker My Love's Timothy Presley, than Hair won't seem so much of a surprise as it is a realization of how two great tastes can taste great together. Sure, throwing the two in a room to jam in a room full of illicit drugs (of my own imagining) could have gone horribly wrong, but the Syd Barrett on speed mix of Hair is the kind of beautiful mess that a psych rock jam should shoot for. Joined by White Fence bro Sean Presley and Segall collaborator Mikal Cronin, Hair is further insurance (along with Thee Oh Sees, Davilla 666, etc) that the prolific SF Bay area garage scene isn't slowing down any time soon.
Wrote in some depth already about Blunderbuss' prevalent theme of relationships and the ensuing chaos, but it's worth pointing out that White has made a point that his debut solo release has little or nothing to do with his recent ex, model Karen Elson. Considering how much of the album is dedicated to a man scorned by his love, Meg White appears to be the target of much of the fiery barbs and resulting melancholia. Besides the consistent ground covered via lyrics, White has varied up his sound enough here that you don't feel too White'd out, a danger given how much of the same ground the blues-rock purveyor has had to tread over the years. It's accessible, but just weird enough for it to seem like an odd introduction for the remaining few not familiar with White's oeuvre -- not that there are that many by this point. As with any White-related release, one of the highlights is what song he chooses to cover, and in the case of Hair, it's no exception -- "I'm Shakin'" was originally a hit for Little Willie John, and hin White's hands, it's a moving tribute to the power of rock from that era of time. And reminds us that those bouncy numbers sung by the brothers Miser were cribbed a bit from Little Willie.
Jon, Brendan & Ken in full harmony mode (more pics here)
I'm still picking up the pieces from the flood that greeted me at home Saturday night, but there's no need to clean up after the flood of harmonies that rained on us at the Showbox earlier in the evening. Saturday marked the final night of the tour for this all-star power pop lineup of Brendan Benson and The Posies. Besides being the final night, it was also a homecoming for The Posies, so Jon Auer and Ken Stringfellow were especially on fire, and pulling double-duty as half of Brendan Benson's band, they had a lot of stage time to for their musical theatrics.
Stringfellow backing up Benson
The witty banter and in-jokes between Ken and Jon sometimes had the stoic Benson shaking his head (as if to say "ah shucks, Ken!"), but when the songs were playing, the three (along with Benson's drummer/neighbor Brad Pemberton) played like they'd been singing and playing together for years. Benson's set drew a lot from the great songs of the past, reminding me what a shame it is that more folks don't know about his pre-Raconteurs work. From the opener of "Folk Singer" to "Spit it Out" and "Tiny Spark" (and, my God yes, "Crosseyed"!) there are so many great songs in his quiver to draw from. When his set ended, Ken and Jon conferred briefly and negotiated another song to end on, as they rightly surmised that "A Whole Lot Better," from 2009's My Old, Familiar Friend, absolutely needed to be played. For each and every song, Ken and Jon added punch and incredible background harmonies, adding even more life to Benson's already exquisite songcraft. I really do hope they revisit this connection again in the future so we can find a way for more folks to get a chance to hear the magic. (The video below is the only one I could find from the night... it is shaky and barely representative, but it is.)
Auer backing Benson
This being Seattle, The Posies got to end the night, and while relying heavily on the latest (and near greatest) Blood/Candy - seven songs, there was plenty of room for nostalgia and songs rarely heard (for instance, the entirety of the 1996 UK single for "Please Return It," which includes the b-sides "Sad to be Aware" and "Terrorize"). Despite playing a full set with Benson, Jon & Ken came out white hot, moving all over the stage in quick dashes and leaps galore. All eras were well represented and unless your night hinged upon hearing something from 1989's Failure or 2005's Every Kind of Light, Posies fans had to be thrilled at the song choices. The encore of "Definite Door" running into "Burn and Shine," complete with Auer's guitar strings no longer being able to withstand the onslaught, gave me flashbacks of performances from the mid-90s, when angst was in full bloom*. In a year filled with 90's nostalgia, leave it to The Posies not to just revisit fondly, but to tear it up and re-arrange it anew.
What's better than seeing The Posies play tomorrow night at the Showbox? Seeing them play with Brendan Benson*.
Besides sharing the bill with the prolific Detroit power pop rocker, Jon Auer and Ken Stringfellow also will be half of Benson's backing band, making for a lineup that should trump The Raconteurs, Benson's other 'project.' Here they are tackling Big Star's "September Gurls" in tribute to the late Alex Chilton:
Those who are there purely for nostalgia be warned... The Posies are going to be relying heavily on their latest album, Blood/Candy (review). It's their best since Frosting on the Beater, though, so you should get yourself familiar with it if you're indeed a fan.
Hopefully, I'll have some photos to share early next week, if I haven't exploded with power pop glee.
I was camping the past few days, ready to skip this week's post, but there's just too much here to ignore, even if too busy. I poached the latest from both Brendan Benson and The Cave Singers in previous posts, but that still leaves new ones from Jay Reatard and Pissed Jeans. Since time is limited, I'm doing some cut-n-paste w/ the Benson poach and I'll give a little love to one more.
When Benson formed The Raconteurs with Jack White, it was assumed more folks would find out who the power pop songsmith was. While that assumption is mostly true, White still dominated the press for the band. I liked The Raconteurs' modern take on classic rock well enough, but if it was going to keep Benson from releasing more solo releases, The Raconteurs indeed needed a break. The title of Benson's 4th solo release, My Old, Familiar Friend, sounds like Benson reconnecting with his solo career, and much of the songwriting reflects the old Benson we know and love. But this time, he's got some new tricks up his sleeves, namely a bigger studio budget, and why the hell not. After years of toiling in obscurity, there's bound to be more attention on him this time and what a better time to clean up and put on a pretty face. And there's plenty to be excited about here, between the infectious opener "A Whole Lot Better,", the soulful "Garbage Day" and the strong "Feel Like Taking You Home." The only fault here is the songs don't much relate to each other, a strength of previous releases.
When Sub Pop signed Pissed Jeans for their debut, I understood the attraction, given their history and all. I didn't much care for their debut, that is until I saw them live last year at the Sub Pop 20 festival -- then it all made more sense. And this second release (King of Jeans) reinforces that feeling, that Pissed Jeans are like a more marketable version of former Sub Pop giant Tad. One listen to "She Is Science Fiction" and the lumberjack roars... without all the flannel and... um... mass.
Somehow missed it at first pass, but Brendan Benson is indeed appearing this week on Letterman, on Friday. And since I'm leaving to go camping this week and won't get to do a New Releases post, we'll do a half-ass review/look at Benson's latest solo album, My Old, Familiar Friend, out tomorrow.
When Benson formed The Raconteurs with Jack White, it was assumed more folks would find out who the power pop songsmith was. While that assumption is mostly true, White still dominated the press for the band. I liked The Raconteurs' modern take on classic rock well enough, but if it was going to keep Benson from releasing more solo releases, The Raconteurs indeed needed a break. The title of Benson's 4th solo release, My Old, Familiar Friend, sounds like Benson reconnecting with his solo career, and much of the songwriting reflects the old Benson we know and love. But this time, he's got some new tricks up his sleeves, namely a bigger studio budget, and why the hell not. After years of toiling in obscurity, there's bound to be more attention on him this time and what a better time to clean up and put on a pretty face. And there's plenty to be excited about here, between the infectious opener "A Whole Lot Better,", the soulful "Garbage Day" and the strong "Feel Like Taking You Home." The only fault here is the songs don't much relate to each other, a strength of previous releases. Still, I can't help but root for the guy, and fully expect his rendition of "A Whole Lot Better," to sound great when he plays it on Letterman Friday night.
Note: I'm still dealing with illness (quickest way to lose weight, sadly enough) but I've at least written as many posts this week as full on meals that I've eaten (2 maybe 3). One of the bright spots of this week is getting to check out the first three episodes of this British import Skins. The following is a preview I did for Film.com.
When Gossip Girl premiered last fall, it seemed to hit on something. Of course, folks in the UK will tell you that 'something' had already been hit on in the UK some months prior in the form of the teen drama Skins. In the wake of GG's success, this Bristol-based series makes it's stateside debut this Sunday on BBC America, airing it's first two episodes back-to-back before moving to a regular once a week schedule. Like it's CW counterpart, this series has teens doing lots of things that parents don't want to know about, namely sex, drugs and undermining adults whenever possible. And it also has a fervent online presence... but the similarities mostly end there.
Each episode is titled after one of the characters, telling the story through the perspective of that character. The first episode concentrates on the Ferris Bueller-like Tony, played by Nicholas Hoult, who you may recognize as the boy from About a Boy. He's handsome, popular and a bit narcissistic, so the episode follows suit, with a certain degree of wit and distance you'd expect from a 17-year old who's introduced both reading Sartre's Nausea and singing "On the Street Where You Live" to private school girl audience. If Tony is Ferris Beuller, than the beautiful Michelle (April Pearson) is his Sloane and Sid (Michael Bailey ) is his Cameron. Bailey, in particular, is great in the role as the likeable 'every man' of the series who finds himself repeatedly manipulated into trouble from the charming Tony.
BBC America had to do some editing to get it basic cable ready, but even with the blurring of nipples (all nudity comes from adults) and the silencing of f-words, it's far more racier than, say, Secret Diary of a Call Girl (who's Iddo "Ben" Goldberg even guests on the third episode). It goes much further than Gossip Girl goes -- just look at both series recent ad scandals. Sure, GG's racy campaign raised some eyebrows, but Skins really did it up with their series 2 campaign, which featured key cast members in what appeared to be an orgy (pictured right). The campaign was eventually scrapped due to pressure, but the controversy generated enough buzz to make it all worth it.
By the second episode, which follows the anorexic Cassie (Hannah Murray,) it becomes obvious why BBC America starts the series with two episodes, as it moves in far deeper territory, revealing that this winking joker of a series has quite a heart to it. Tony's barely there, and what we do see of him, is less likeable. The third episode follows Jal, a promising musician who's concerned with pleasing her father, and its at this point that you realize Tony's not really as charming as we first thought (and in fact, not the central character at all).
Another big difference between Skins and GG is the actors here are all either playing their age (or really close to it). Similarly, the average age of a writer on the series is (was) an amazing 22 years old. As such, the music choices are genuine and rarely cater to what the major label's are pushing (here that GG?). It will be interesting to see if they're able to license all the music that went into the original broadcast, as there was a lot of inspired choices. I've included a playlist of music from the first two episodes as they originally appeared. We'll check back Monday to see if the show made it intact with moments like the first episode highlights of crashing a posh girl's party to The Fall's "Totally Wired," or later, my favorite, walking home from a car wreck to Brendan Benson's "Flesh and Bone." The second episode featured tracks from Shuggie Otis and The Sleepy Jackson, but I didn't hear it on the screener, so my fingers are crossed that the licensing came through.