Sebadoh
This is the all-too-brief post I did on Sebadoh this past weekend. It originally aired here. Honestly, there wasn’t much to say. They didn’t do anything new and the old was sort of nonchalant…as you’ll likely gather from my review. After the review, I have some related to Tweets to share.
Sebadoh: Just as I remembered them.
Sebadoh played Mojo’s as part of the endless stream of nineties indie rock reunions that have popped up over the past 7-8 years. I feel like I’m back in college as all the heroes of my youth come circling back onto the circuit. Of course, the real reunion took place a few years back and now the band is just supporting reissues of Bakesale and Harmacy, two albums that were originally released in Sebadoh’s prime. The material still holds up and represents some of their best.
The set was littered with songs from both records, resembling a set list they could have easily written 15 years ago. And with that familiarity comes a bit of nonchalance. Some may perceive it as sloppy or unprepared. I preferred to see it as something familiar, comfortable. As the band whipped through songs they had played hundreds if not thousands of times, the crowd remained glued and engaged even as the band played late into the night, shutting Mojo’s down.
If you’re not familiar, Sebadoh was created as an outlet for frontman Lou Barlow from his other band, Dinosaur Jr. DJ’s output was dominated by J Mascis whose master guitar work intimidated a young Barlow into submission until he was finally booted from the band. Sebadoh continued, releasing cassette tapes and touring New England. Eventually, the band, along with current member Jason Lowenstein, earned gigs opening for the likes of Firehose who toured through Columbia many years ago. This led to Sebadoh signing with seminal label Sub Pop. From there, Sebadoh did the indie, lo-fi thing for which the nineties scene was known. Now, they’re in their reunion/re-issue phase, much like contemporaries Pavement, Guided By Voices, etc.
The show Saturday may have been a casualty of Halloween celebrations all over town, but that was fine. The familiarity of the band and their material was never meant for everyone. I’m sure the band would like to see it differently, but that’s how it is. The intimate nature of the vibe as well as the laid-back demeanor of the band played out the way one would expect. The show wasn’t earth-shattering by any stretch, but it filled the evening as some of us got to spend some valuable time with an old friend. Don’t be strangers, Sebadoh.
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Said Tweets are below. There are a few missing, but you get the picture:
There was more, but it all became worth it when this finally came through my Twitter feed:
Eleanor Friedberger at the Luminary
Those pants.
I won’t attempt to write a review of this show. Too much weird and surreal happened. So, I’ll attempt to just tell you how it all went down Friday night in St. Louis.
My friend Andrew has a college buddy who’s playing bass for Eleanor Friedberger and so he was on the guest list with a +1 (me). The venue was The Luminary, a convent-turned-art space. The basement is a large, open room with a stage that was both wide and shallow in front of a projection screen. To better illustrate the stage’s layout, the drum kit couldn’t sit behind the rest of the band. Rather, it had to be moved to the side.
As Andrew and I waited to meet up with his friend, Matt, we enjoyed a beer. Said beer was a Zwickel from Urban Chestnut, a newer brewery in St. Louis. I have to say that it was a nice beer. I’m not much of a lager drinker, but this beer is smooth, just sweet enough, and features a decent hoppy bitterness I wasn’t expecting. It was nice to have a good beer in a convent-turned-art space, totally unexpected.
Matt introduced us to the rest of the touring band, including Eleanor. No rock star pretensions or snobbery here. Eleanor was a lot of fun to chat with. She and Andrew had several mutual friends and hit it off right away. The entire band was like that, just really friendly and easy-going.
After I let Eleanor try my beer to see if she wanted one of her own, I promptly texted my sister who proceeded to freak out via MMS. She’s a big Fiery Furnaces/Eleanor Friedberg fan and was properly jealous. In fact, I purchased her record based on my sister’s recommendation. My only task as assigned by my little sister was to tell Eleanor that my sister loved her.
In case you weren’t aware, Friday night also happened to be when the seventh game of the World Series was to be played. If you were unaware of this, you also probably didn’t know that St. Louis was hosting said game versus the Texas Rangers. Being the baseball town that St. Louis is, even a joint like the Luminary was showing the game. As you’ll notice below, the game provided some avant-garde, performance art backdrop to the bands playing. We were in no danger of missing game seven despite our indie rock leanings.
Via @EleanorOnly
As a decent local alt.country act played (Pretty Little Empire), Matt asked us if we wanted to hang out in the green room which was actually green. The best part of the room was the high-quality selection of LP’s to keep us busy. Andrew and Matt caught up, I sat and figured this was my chance to relay my sister’s message to Eleanor. She seemed flattered and even offered to add my sister to the guest list for her next show in Ohio. (I watched her enter the name into her phone. So, I assumed she was serious.)
I saw the opportunity to tell Eleanor how much I really like her new record…
[It’s really an oversight on my part that I have yet to write about this record. I purchased Last Summer weeks after its release. So, I didn’t feel the need or opportunity to write-up a proper review. It will surely make my year-end list. I figured I’d say what I was going to say about it at that point. It’s a really great record. Some might even say that it’s more accessible than her Fiery Furnaces material. Either way, this is a fantastic collection of rock songs. The production reminds me a ton of the Destroyer record, but it’s far more tolerable than Dan Bejar’s eighties-inspired Kaputt. Highlights include “My Mistakes”, “Heaven”, and “I Won’t Fall Apart on You Tonight.” You can get an idea an idea by watching the video for “My Mistakes” here.]
That’s when my filter quit working.
Here’s a tip for any of you if you ever get to meet an artist whom you respect and really enjoy their work: Don’t tell them about why it’s so hard to like their music.
After telling Eleanor how much I liked her new record, I proceeded to tell her that it was more accessible than a lot of the Fiery Furnaces stuff. I expanded this thought by telling her how there’s some stuff FF recorded that I can’t stand, but I loved other material. The part about how much I loved some of the music was lost as everyone in the green room gave me a hard time over this social faux pas. I quickly tried to back out by explaining that I played Last Summer for my wife who promptly told me to shut it off. This didn’t help.
For whatever good karma I earned sharing my beer, relaying my sister’s admiration, and complementing Last Summer, it was all lost as I inadvertently insulted the artist I was excited to see perform that night. Ugh.
That was the moment when a kid working for the venue informed the band that it was time for them to set up. Andrew and I had to leave before I could explain my way out of the mess I had just made. At that moment, I hoped my sister’s invite to attend the show in Cleveland was still on. Either way, I had to pull my foot from my mouth so that we could return to the basement for the show.
A decent crowd showed despite the fact that the World Series game was going on at the same time. If I remember correctly, the Cards were up 6-2 at this point and were looking good going into the final few innings. Regardless, we would watch the end as Eleanor and her band mates played.
Like I said, I’m not writing a review, but this is basically what happened for the next hour or so…
The band opened with “My Mistakes” which is incredibly danceable and catchy. A new song was introduced and the night was off without a hitch. Backing Eleanor was a professionally smooth trio on bass, drums, and guitar. Matt played bass next to a drummer in hoody and jacket. I have never seen a drummer stay relatively perspiration-free while wearing so many layers, plus a full head of hair and beard. Still, he could hit some skins. That solid rhythm section was fronted by Eleanor and this kid from Tennessee (whose name I’ve forgotten) on guitars. This “kid” (he’s 21), told me later that he’s normally a drummer, but I would swear that guitar is his first instrument. He played effortlessly, even some of the more difficult parts appeared easy in his capable hands.
Eleanor was in synch with her band, holding the crowd’s attention with every word. She has a presence on stage for sure, something that would have been hard to imagine after hanging out with her prior to the performance, finding her relatively unassuming. Because I’m a lazy blogger, I’d compare her look and presence like that of Patti Smith, but it was even more like a Stephen Malkmus, sans the bratty attitude. She was easily the coolest person in the room. Even her attire suggested she was better than the rest of us despite her approachable demeanor. (I think Andrew said something like “Those pants!”)
Throughout, Eleanor and the band had fun and it encouraged those in the audience to do the same. They checked in on the band between songs. Sometimes they became transfixed with the commercials. At one point, Eleanor decided to sing to the screen only to find an American Idol commercial was playing. She nearly lost it mid-song.
Adding to the fun was the fact that 3-4 new songs were thrown in and none disappointed. If anything, these new songs added to what is potentially great oeuvre. Of course, the songs from Last Summer translated well live. A live show featuring newer material can make or break an album’s staying power for me. Friday night’s show assured me that Last Summer is good art and even better pop. Of course, good songwriting, charisma, and solid musicianship has that effect.
The set progressed as did the baseball game in the background. Eleanor announced the last song during the ninth inning. It was a perfectly timed selection “I Won’t Fall Apart on You Tonight.” Watch…
Yep. That’s how it went down. The band did come back to play [enter song here that escapes my memory] in a rather Ramones-like way – you know, punk rock oldies. The song finished what was a pretty fantastic night of music and baseball.
We said our goodbyes to the band. I sheepishly went over to the merch table to say goodbye to Eleanor. She assured me that my sister would be on the list in Cleveland, demonstrating that she wasn’t sore about my unintentional insults. It was cool for her to offer in the first place, but even cooler to ignore my rudeness and assure me that my sister was still on the list. Nice girl, that Eleanor Friedberger.
Top 5: Session Beers
I’m starting over with this Monday top-5 list feature. Instead of five random things, I’m going to do an actual top-5 list based on some theme or topic. Some will be beer focused; others will be primarily about music. There might even be room for something else, but every list will make sense.
Argue with me in the comments. However, be aware that these lists are based on my opinions and feelings at that very moment and could change tomorrow.
For this week’s list, I’m listing my top-5 session beers. A session beer, according to Beer Advocate, is a beer that registers at no higher than 5% ABV. This post isn’t intended to question the validity of this definition or to argue the finer points of a session beer. My intention is basically to list five beers that could be enjoyed throughout a period of time with drinking buddies. The idea that there is a huge difference between a 4% and 5% beer is ludicrous and somewhat arbitrary. For the purpose of my list, I’m drawing the line at 5%.
5. Schlafly Kölsch – Honestly, there were some hoppy pilsners and sweet bocks I wanted to include in this list so as to represent all the decent lager alternatives that are out there, but all my favorites don’t meet the 5% standard I set above. So, I’ll go with a Missouri beer in Schlafly’s Kölsch, the closest an ale can get to being summary and lager-like. The beer is a pleasantly crisp, clean drink during the hot Missouri summers.
4. Stone Leviatation Ale – If you want the hops and malt presence of an American IPA/DIPA without drinking yourself under the table, Levitation is the way to go. The bitterness and floral aroma we hopheads crave is there only in a much lighter package. I’m not one who likes to limit a beer to a style, but this one still manages to adhere to the boundaries for an amber without boring me to sleep. This is seriously one of the best hoppy beers you can drink while standing.
3. Jolly Pumpkin Bam Biere – It’s no secret that I love oddball breweries who tinker with style and fermentation processes to create lovely beers. Jolly Pumpkin is one of my favorite breweries and Bam Biere is a go-to whenever I can find it on tap. Even a 750 mL bottle won’t put me under when a beer like this measures at 4.5% ABV. It’s a dry, earthy Saison that also features a pleasant amount of bitterness. This is a fine example of a beer that can be low in alcohol and big on flavor.
2. The Bruery Hottenroth Berliner Weisse – I love what The Bruery does. Aside from Dogfish Head, I’m not sure another brewery makes beer that is more ideal for the dinner table than The Bruery. This beer is an example of the under-brewed style of Berliner Weisse. The Bruery adds lactobacillus and brettanomyces to the beer to attain a certain tartness, but it seems that this may be a departure from more traditional brewing methods of this style. Either way, it’s a beautiful beer and something one can enjoy all day long.
1. New Glarus Wisconsin Red – It’s funny to me to include a “Wisconsin Red” to the list after what transpired this weekend, but I would be an idiot not to include this beer on my list. In fact, Wisconsin Red has a permanent spot on my all-time-favorites list. From the first time I tasted it, I knew that I would always have to have a bottle of this nearly perfect beer in my cellar. Whenever someone heads to Wisconsin, I always ask them to bring me back a bottle. The tartness of the cherries is nailed without the overwhelming presence of cough syrup. It’s light and flavorful, pairs well with all kinds of food…I could go on and on about Wisconsin Red, but I’ll stop there. Maybe I’ll do a proper review when I finally open the bottle I have.
What are the session beers you like most? If you have an issue with my arbitrary definition of a session beer, let me have in the comments.
On a programming note, look for reviews of Eleanor Friedberger watching the World Series, Sebadoh battling me on the Twittersphere, and a post a day for the month of November.
For more on session beers, follow The Session Beer Project.
Postponed
No post today. I was up late, cheering on the Cardinals. That is maybe the most Missourian thing I’ve ever done. There are good posts in the works. I will have a legit top-5 ready for Monday as well as two shows this weeked. Stay tuned…
H/T J Parshal (Click me.)
Building International Coalitions Through Beer and Pavement is not easy
Sorry about not posting on Monday. It seems I’ve had a combination of no time, little sleep, a hangover, and no inspiration to write. It doesn’t mean I’ve quit writing posts, but I will miss a day occasionally. See Monday’s post.
It should be known that this is not an easy gig. I purposely started this blog to write regular commentary on my two favorite things (that are not people). Additionally, I wanted to do more than the paragraph with a link kinds of posts I see on so many blogs. I want my posts to be rich and complex or at least something that takes you more than a couple of minutes to skim. For the most part, I feel I’ve been successful with this goal.
I’ve also made a concerted effort to post three times a week. Since I do write longer posts than the average blogger, 5-7 posts a week is too much. Three feels about right. Still, even three has been a challenge. The Monday top-5 lists seem to be sputtering. It will be back, however, next week and it will be better than ever.
As the title of this post suggest, building international coalitions through beer and Pavement is not easy. It’s a stretch as – let’s be honest. Beer and indie rock don’t really matter that much. Also, I’m working really hard to get beer nerds to understand indie rockers and vice versa. This is harder than expected as I know a lot of beer enthusiasts who like indie rock and even a few indie rockers who will put down their PBR in favor of a Stone IPA now and again. Still, beer enthusiasts just don’t get my record collection or why I would spend time in a place called “The Hairhole” with a bunch of underage kids with a load BYOB. Conversely, it’s hard to convince indie fans that spending $10 on a bomber is a good investment.
I think I understand the beer nerd’s hesitation to get indie rock. Beer nerds tend to be somewhat mainstream. They have 9-5 jobs, a mortgage, and a family. The time and resources needed to keep up with music is exhausting. Indie rock is especially grueling as there are so many bands out there with new releases coming out weekly. Mainstream music is easier as you can hear it on the radio or only have to buy a CD every other month. Drinking a beer takes no time and can relieve the stresses of mainstream life without waking the kids.
The indie geek is more difficult to understand as his disposable income is similar to that of the craft beer drinker. However, the bars the indie fan frequents tend to serve shitty beer. They get used to the stuff and enjoy the fact that they can still fit into their skinny jeans. It’s way cooler to throw back 5-10 Buds at a Guided By Voices show than to sip from a snifter as rowdy concert-goers ram into you.
I know both of these perspectives. Of course, some may argue I’m only a gentleman dabbler and they would be correct. However, I have a pretty long history following indie rock. Although my craft beer obsession has been around for a shorter time, I’ve always preferred more unique beers and now have the resources to satisfy that interest. So, I get the hesitation on both sides. I also get how these are two great tastes that taste great together.
So, I will continue to build coalitions. Someday, the worlds of craft beer and indie rock will merge to become one unstoppable force. Until that day, I will be a lone soldier in this battle to Build International Coalitions Through Beer and Pavement.
Occupied
So, I was having trouble coming up with something to write. It seems that I’ve been wrapped up in all the #OccupyWallStreet drama. To satisfy this occupation of my attention, I could go to our own Occupy COMO demonstration, but I figured I’d blog about it instead. (It takes all kinds to make a social movement successful.)
What does a blog about some guys hobbies have to say about the Occupy series of protests? Plenty. So, I’ll keep it brief.
You see, craft breweries and indie labels are occupying their industries in much the same way those protesters in NYC are doing. They’ve held a spot in their respective industries that their corporate overlords don’t like. It makes corporations nervous to see the little guys one-up them. Craft breweries and indie labels represent a portion of their market they can’t have. They represent defiance. Corporations don’t handle defiance very well.
The reason these breweries and labels can take on corporate behemoths is because what they do comes from people. Despite what some might suggest, corporations are not people. What they do is for profit, to crush the competition, and to dominate their sector. And it’s okay not to see corporations as people. They don’t see us that way. We’re just numbers, demographics, and consumers. Craft brewing is about the people. Most breweries started with a guy or gal brewing some beer in a garage. Similarly, indie labels started with people wanting to get their music out into the world. Both have goals of making the world better, more enjoyable through their craft. Sure, a profit that allows them some financial security and the ability to take care of their people is part of it, but profit doesn’t come before quality for these entities.
Craft breweries are taking back the beer market, a market that used to belong to the people and not faceless corporations. There used to be breweries in every city. Then, Prohibition happened. Some breweries closed; others diversified. Eventually, a few larger breweries bought up all the local breweries. Eventually, beer went corporate. Then, certain developments happened. Jimmy Carter helped make it legal for folks to brew at home. A few folks traveled through Europe, discovering that beer could vary in flavor, appearance, and style. In the midst of all this, Fritz Maytag was making some things happen with the old Steam Beer Brewing Company. Three decades later, craft beer is slowly taking back beer for the people.
Indie rock has had a similar timeline and method. Punk rock showed kids they could make something people wanted to hear. Networks and labels popped up throughout the 80’s, making it possible for these self-taught, self-promoted, and self-recorded artists to make a go at a career. This movement gave independent artists scaffolding for gaining the solid foothold in the industry, again, returning a share of the market to the people.
Like the Occupy movement, craft beer and indie rock have taken a long and arduous path in taking on large corporations. The occupiers in New York and elsewhere are just getting started. Their fight is a noble one, but they are not alone. People all over this country are taking back some control from corporations. Whether that be in the form of establishing their own place in a corporate-dominated market or just a fight for an economic and political system that actually works for the people, we are all occupying space that corporations can’t have back.
Now, I recognize that this is just a post about beer and music. The actual occupiers are doing important work. And there’s no better talking head on the internet than Jay Smooth to put things into perspective…
Crooked Fingers – Breaks in the Armor
Eric Bachman, like Stephen Malkmus, is one of my generation‘s gracefully aging rock heroes. For previous generations, that may fall upon the likes of Paul McCartney, David Bowie, or Bruce Springsteen. These musicians create a huge buzz when they’re young, creating art that is immediate and loaded with energy ideal for the times. Then, they get older and develop into better musicians along the way. Lost is some of that urgency, but they gain a certain proficiency in their craft that keeps their die-hard fans interested.
Bachman fronted one of my favorite bands of all-time, Archers of Loaf. The music he has created since their late-nineties demise is far from the blue-collar, Carolina indie that spoke to me in my 20’s. Instead, he opted for darker, more textured songs about drunks and hurt. I gravitated to this new direction as it was a chance to still hear and see one of my favorite artists. Even though Crooked Fingers albums tend to not resemble anything on a Loaf record – aside from Bachman’s growl – the live show reminded me why Loaf was so engaging.
The Crooked Fingers discography is an odd lot. The first two albums (Crooked Fingers and Bring on the Snakes) are nice companion pieces, telling stories of drunken depression and back alley romance. Red Devil Dawn brought together the bar band Bachman had created in filling the void left by Loaf, capturing the live energy for what is a powerful record. Things began to get shaky with the adventurous concept album Dignity and Shame. Projects like these either spur on huge crossovers or signal the end of a band. At the time, it seemed to mean the latter.
Then, Bachman recorded a solo record from a van in Seattle. The naked craftsmanship of To the Races helped me to appreciate his talent sans the Loaf hangover. The songs are expertly written and the subtle production and arrangements help create one of the most intimate records no one listens to.
Instead of building on the rawness of Races, Bachman continued to go down the path Dignity led him in recording the forgettable Forfeit/Fortune. The feel of this record was one of Bachman searching for something new or a direction he could embrace. Although it contained elements from his earlier Crooked Fingers projects, it had this forced aura of eclecticism and variety. Honestly, I haven’t listened to that album in a couple of years and I don’t feel the need to do it now.
Then, something unexpected happened. Archers of Loaf, the last holdout in the 90’s reunion/revival circuit, did the unthinkable and reunited for a tour this year. The original plan was to tour in support of reissues of the band’s four albums, but now there’s talk of recording. We’ll see.
An unexpected result of that reunion might be the moving Breaks in the Armor. This record is a return to the darkness enjoyed on the first two Crooked Fingers albums while somehow capturing the energy and urgency of Archers of Loaf the way Red Devil Dawn couldn’t quite achieve. Additionally, the raw beauty of To the Races is present as is an improved musician in Bachman.
What I find interesting are the similarities between Breaks in Armor and Malkmus’ Mirror Traffic. Both come out and were record in the midst of reunions with the bands that made them famous. It’s easy to detect the new-found/reinvigorated energy in both. Also, the growth in songwriting and musicianship in both men is apparent. I have been impressed with Malkmus’ new insistence of actually singing. Likewise, Bachman stretches his range, often ditching the Neil Diamond bravado demonstrated on previous albums. Plus, both featured female vocals that add much to their sounds. Finally, Crooked Fingers and the Jicks feature some incredibly solid work on the bass that fills out their sound and reminds you that there are other people in these bands.
What was often missing from the Diamond dirges of other Crooked Fingers records was the power of Arechers of Loaf-era Bachman. He seems to have rediscovered an aggressive guitar playing alternate guitar tunings that made Loaf records so unique. I have to think this has a lot to do with his time on stage with his Loaf mates. While I’m glad to see Loaf touring, I am even more excited to hear Bachman rediscovering his inner-rocker in developing Crooked Fingers as a group with a future.
“Typhoon” opens steady and low, much like the early material, but one already detects the change in sound as Bachman allows some room for female vocals and plays like he did in Loaf’s later years. The second track, “Bad Blood,” is a straight-up rocker that reminds me so much of Archers of Loaf in the way Bachman plucks the strings, bending them to his will. The melody and drama reveal a more mature version of what Archers of Loaf used to be. The tone quiets with “The Hatchet,” similar to To the Races. It’s a beautiful track with subtle touches that flesh out the mood created.
This is followed by what is almost a pop song with a huge bassline featured out front. “The Counterfeiter” is a song Bachman might have dirged-to-death, but instead he lets the melody flow in creating a real head-bobber. This is maybe the most rewarding song of the album just for the fact that it breaks away from anything I’ve heard from Bachman. If there was ever an opportunity for a stripped-down Crooked Fingers track to make a crossover onto adult alternative stations, this would be it.
“Heavy Hours” regains the quiet established before and is yet another beautiful track, something Bachman had in him but rarely exploited. That quiet is broken a bit by the marching of “Black Candles” and its eerie resemblance to a Low song. “Went to the City” builds on the piano that’s been hinted at throughout, thrusting the instrument to the forefront as Bachman stretches his considerable vocal chops, singing yet another pop song.
Crooked Fingers used to depend on a steady movement with the low end all filled out while Bachman growled on. “Your Apocalypse” is a track that could have fallen into that trap had it not been for a quickening of the pace, a higher octave, and some incredibly well-crafted arrangements. Even the guitar solo is uplifting.
“War Horses” opens with a buzz and steady beat that suggest dirge, but Bachman’s soaring vocals carry the day once again. “She Tows the Line” follows in a similar manner, building on the momentum that’s been created so far. “Our New Favorite” is the bluegrass ending I didn’t expect but welcomed with open arms.
Though Breaks in the Armor doesn’t attain the same sonic levels as Stephen Malkmus’ Mirror Traffic, it is no less a triumph in its demonstration of an already-accomplished artist developing, even maturing. For me, albums like these are the albums with which I want to grow old. I don’t need Wilco and their brand of dad-rock. I need my heroes to continue their growth, recalling the glory days while building toward the future. It seems as long as musicians are still hungry to break through, they will continue to avoid complacency and grow.
Breaks in the Armor is easily the most advanced and cohesive Crooked Fingers album yet. This Bachman project quickly approaching the dad-rock equivalent of an Icky Mettle or Vee-Vee. And if this is what dad-rock is going to be, I’m okay with that.
Top 5 for October 16, 2011
Another week, another top-5….
1. “Senator” gets the MTV treatment. – Maybe the year’s best single finally has a proper video. Somehow, Malk secured the services of Jack Black to make what must be the song’s narrative incarnate. Office Space‘s Gary Cole even makes a cameo. I really wish the narrative was more fleshed out to represent some of the nuances suggested in the song, but it’s as entertaining a video as one could hope.
2. Black IPA’s vs. Cascadian Black Ale – Really? There’s still a debate over this? Whatever. It’s a great beer style – whatever you call it. Why all the fuss? What I like is how so many can be so different. I had my last Stone 15th Anniversary Ale this weekend as well as a Clown Shoes Hoppy Feet. Both were incredibly different from each other. The Stone beer is so clearly a West Coast DIPA with some dark, roasted malt. The Hoppy Feet has a ton of cola flavor and doesn’t feature the aroma of Simcoe and whatnot as prominently as the Stone. Still, both were good beers.
3. Sports Ball – I planned not to write about Ohio State at all with what was looking like the worst season in 10 years, but they somehow pulled out a win versus an undefeated and raked team on the road…with one completed pass ( a 17-yard touchdown pass in the second half). The Buckeyes’ opponent, Illinois, didn’t score until just over six minutes left in the game.
Even if Ohio State hadn’t won, it’s been fun to watch the St. Louis Cardinals come out of nowhere this season. They were left for dead a month ago before going on a tear that’s seen them catch the Braves for the Wild Card, beat the unbeatable Phillies, and beat the Brewers who happened to beat the Cards for the division race. It’s been a hell of a run and I hope it continues.
4. Homebrew Update – I cracked open a Black Francis and it’s packing hear along with a load of bourbon. On top of that, I can sense the cocoa nibs just under the bitter. I’m hoping the vanilla flavors will emerge as it ages, but I don’t know how long it will be around. There’s also the Simcoe-dependency IPA which I have yet to open. It’s been in the bottle for a week and a day, but I’ve found that waiting at least 10 days insures there will be carbonation. I’ll drink one this week in order to make sure it’s ready for a party we’re attending on Saturday.
5. Gordon-Moore Separation – While some fret over Ashton and Demi’s breakup, I’m more concerned about the separation of Kim Gordon and Thurston Moore. For completely selfish reasons, I don’t want to see Sonic Youth end over this. Here’s to hoping they figure out a way to still make Sonic Youth work despite their separation. I suspect it’s not that big of a deal as the reality of such relationships rarely matches the ideals many of us hold concerning marriage.
Bonus: I am the 99% and I fully support the #OccupyWallStreet protests. I have chosen not to write about it mostly because I have tried (and sometimes failed) to avoid politics. Still, it’s everything I rail against with regularity on Facebook and Twitter discussion threads. I just hope it doesn’t get co-opted, leaving it powerless.
On Hype
Hype is short for hyperbole. That hyperbole is often used as a marketing tool to sell more of whatever is being hyped – either purposefully or by accident. Sometimes the hype is created by the same ones who created the thing being hyped, the media who love fall all over themselves in a frenzy over such things, or the consumers who are just looking for escape from their pitiful lives through the hope that hype may bring.
The trouble is that the hype usually just leads to disappointment. The letdown either angers people or they are so apathetic that they don’t care. In this case, the hypesters win. Hype can build expectations beyond reason, to the point that reality can never measure up to what we think will happen.
Some of us are impervious to hype. We see through the hype and see things for what they are. Sometimes we completely ignore the hype and wait to make up our minds. Other times, we look at the hype with a critical eye, searching for the hidden meanings in the rhetoric and considering the source. Our buy-in is conditional and we can evaluate the effect of hype in comparison to the reality. Rarely are we let down – though, we might not be impressed – as our expectations were never raised by the hype.
Hype plays a huge role in music. See: Grunge.
Grunge was not the first case of hype over a musical movement outweighing the actual quality of the music. Yes, there were some great grunge bands, but its ability to transcend and change music forever may be a bit over-exagerated. Nirvana’s breakthrough changed a lot, especially for me. Pearl Jam, Soundgarden, and a few others went to success beyond the Grunge era, but it was a largely isolated movement. The hype caused hysteria as major labels signed every feedback-infested band in flannel, regardless of whether or not they were any good. They sold the bands to the masses under a silly label instead of selling each band’s unique take on music. When kids went to shows expecting another Nirvana or Pearl Jam and got Mudhoney instead, the hype hit the fan. Disappointment was rampant as listeners moved on to Post-Grunge shite and Britpop. I discovered indie rock, a place I thought was hype-free.
Indie rock, of course, is not without hype. However, indie hype in the 80’s and 90’s consisted of more of the word-of-mouth and zine variety. Even with the mad rush to sign the next Nirvana in the 1990’s, the hype in indie was tolerable. Then, with the adventitious rise of the blogosphere and social media, hype took on a new scope under the guise of authenticity. This online hype tried to develop much the same way zines would build interest in a band, but the growing sophistication and reach of such technologies has created hypesters not that unlike corporate hype machines. Media-wise, blogs and sites like Pitchfork appeared to create a hype more grounded than the hype drummed up by the likes of Rolling Stone, yet what they both do is really the same thing. Indie labels now have the capabilities and media outlets to exploit in selling their product to as many ears as major labels have done for decades. All of this leads to hype building bands and albums to a level reality will never let them attain.
Hype builds around bands, usually after a good show with key people in the audience or upon releasing a bit of music that sticks out from the rest. This hype or buzz is perpetuated by labels in the form of advertising campaigns, gimmicks related to releases, and music videos. Playing nice with buzz bands and labels are the media, social and otherwise. Hyperbole is thrown around with reckless abandon. Some consumers fall for the hype and will also play along. In this day and age, there’s no reason to fall for this sort of hype as there are plenty of places to listen to music before purchasing. There is even ample opportunity to see a band’s live show before forking over cash for tickets.
The hype in the beer world relies more heavily on a component music can’t seem to contain these days: scarcity. Beer hype is not only built around a conversation about how great a particular beer is, but what is said only turns into hype if no one can get their hands on said beer. The rarer, more scarce a high-quality beer is, the higher it reaches on the hype meter. Some of the best-rated beers in the world also have the fewest number of reviewers. This might be a statistical factor, but it’s true nonetheless.
Take the CBS release. I know that I’ve written a lot about a beer I have yet to open, but much of the hype around this beer is mostly about the fact that no one can get any. This is mainly why I’ve chosen to write about the beer. Still, from what I understand, the beer is really good. The hyperbole comes in when one hears how good CBS is and realizes he can’t obtain any for less than double the suggested retail. (Although, I did pay retail for my bottle.) People want what they can’t have. It’s true, but they only want it more if they hear that it’s also really good.
As asked at the other end of an earlier hyperlink (also, here), does hype ruin the experience? Is it impossible if a band’s live performance doesn’t measure up to the promise in their Pitchfork review? Is a beer less enjoyable if it isn’t as hoppy as all the beer blogs claimed it to be? Is it hype’s fault that you didn’t get your money’s worth?
The answer is decidedly “NO.”
I mentioned how those of us who don’t fall for the hype are never disappointed. We imagine that we’ll go crazy longing for the beer of our dreams, but just by recognizing this potential for psychological failure means that we won’t actually go insane for a beer. Nope, we are a sane, level-headed lot. We, like Chuck D and Flavor Flav before us, don’t believe the hype. We’re like Missourians (which I technically am) in that we have to be shown to believe.
Hype, as I said before, is just hyperbole, and exaggeration. Reality never matches because it’s…well…reality. Reality doesn’t exaggerate. It just is. So, the hype isn’t worth the excessive energy we spend on it. No band is that amazing (except for Archers of Loaf circa 1995). No beer matches the hype. It’s better to move on and find something that satisfies minimal-to-realistic expectations. I mean, it’s just music and/or beer.
On Business
I know little if nothing about business or economics, at least not formally. That said, the following conversation happened on Twitter yesterday.
(Be sure to follow Kristen on Twitter if you’re into that sort of thing.)
There were some Tweets in between these, but you get the point. The general idea is that the media is missing the point when reporting on the failings of various industries, especially the two I obsess over. There are clear distinctions between smaller businesses who use innovation to sell traditional products and larger corporations that employ traditional methods to sell new products. Growth and sustainability happen in these smaller ventures. They sell quality over hype, depending on word-of-mouth (via social networking) and they do it in a way that’s easy to maintain.
Indie labels and craft breweries are equivalents in their respective industries. They both depend on the quality of their craft to bring them financial success. They both have large corporate entities to contend with as said corporate devils continue an incestuous practice of mergers and buy-outs. They both prefer innovation in business practices and marketing to sell quality craftsmanship. There’s a focus by both to engage intellect of the consumer by staying above the fray, never appealing to the lowest common denominator. When it comes to steady growth and sustainability, these sub-industries have the answers corporations can’t see through their greedy lens.
Take an indie like Merge. From pretty humble beginnings, this tiny label has built one of the most impressive lineups in the industry, among indies and majors. Yet, they did this while giving their artists a generous share of their album sales and limiting the growth of their label. Artists were allowed freedoms in recording and artwork as long as the tiny label could afford it. For years, they struggled out of a small office in Chapel Hill, NC. Eventually, their model which valued their relationships with artists over profits has led to a record label that actually makes a decent profit, even as the record/music industry dies a slow, painful death.
Some indies try the growth-at-all-costs model their corporate overlords use. Sub Pop – on more than one occasion – has flirted with disaster via major label marketing practices. (Interestingly, Nirvana’s major label breakthrough and a distribution deal with a major label actually saved Sub Pop from bankruptcy on separate occasions.) Sub Pop grew too big at a couple of points in the nineties, signing every band in sight. However, they stretched themselves too thin, featuring a lineup of quantity over quality. They learned their lessons, made some savvy business deals and have found a way to survive as an indie, maybe the most beloved of the sellouts.
Craft breweries have followed a similar track as indie labels. Dogfish Head is a brewery that has placed ideals over profits. They, like other breweries, have cut back on distribution while they slow growth in an attempt to maintain the quality that put Dogfish Head on the map in the first place. As far as marketing, DfH has opted to appeal to the senses as opposed to sexists. A DfH brew belongs at the table with a gourmet meal and that’s what sells. They don’t rely on ads the way Budweiser does. No. DfH’s marketing plan is to brew tasty beers. Too bad Budweiser hasn’t tried that one.
Of course, there’s been some buzz in the beer industry as A-B-InBev purchased craft beer stalwart Goose Island. While there are signs that ABI will stay out of Goose Island’s product, there are already signs that even GI will just become another marketing machine, void of substance that towers over hype. ABI purchased the rights to area codes all over. The plan is to release area code-specific versions of GI’s very popular 312 Urban Wheat Ale. This does not bode well for GI’s future as a pseudo-craft brewery enveloped in a corporate culture.
As corporations continue to push for world denomination through obscene expansion and hostile takeovers, small craft industries are thriving during tough economic times. Consumers know value and will spend their money on it when their cash flow is low. Plus, profits go much further when a company puts said profits toward employee pay and benefits, monitors slow-but-steady growth, and allows the quality of their product speak for itself.
It seems the business models of craft breweries and indie labels should be the models for all business. Not only are they successful – even with an increasing number of competitors, but they have created situations that are sustainable, benefiting everyone in their company. Will there ever be an indie or craft brewery earning as much income as their larger, corporate foes? Doubtful, but maybe that’s the point.
Beer and Pavement 
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