A Connoisseur
Admittedly, I sometimes get too wrapped up in my little niche. I love craft beer, a category that holds down about 5-10% of the market, depending on who you ask. I also love indie rock, a label placed on independent music that includes some non-corporately-sponsored acts but not all and is generally guitar-centric music that appeals to a small subset of music fans. These are two unique interests that I write about in this blog. What’s even more specialized is the fact that I write about the merits of only these two things.
I don’t know if this makes me a connoisseur or not. Maybe I’m just a blowhard with a blog who likes craft beer and indie rock. I pretend to know a lot because…well, I do know a lot about these two things. Not as much as some, but more than most. I guess this makes me a connoisseur as described in the comic above.
There could be more to say about many other things. In fact, I’ve often considered topics for this blog that don’t fit into either interest, but I tend to shy away from those. I’d rather write about what I write about. Still, what if I’m missing out on something else, something better?
Is craft beer really all that I’ve made it out to be? It has the uncanny ability to pair with any kind of food. There are beers perfect for every occasion. You can drink a beer with more or less alcohol, bitterness, sweetness, tartness, and some other -ness’s I’m forgetting.
What about indie rock? Is “indie rock” even a thing? It’s really a silly category of music if you get right down to it. Still, that’s what I write about.
Then, I think about the idea that anyone else could write a blog about whatever the hell they want to write about. This here blog is about indie rock and craft beer. That’s what I like. That’s what I write about.
Sorry for the filler, but I really just wanted to post the comic above and see what ideas it stirs in you all.
The Race for the Best Album of 2011
Normally, I like to publish a mid-year top-ten. However, this year’s crop has been somewhat uninspiring and I have purchased just a few more than ten 2011 albums anyway[1]. This hardly seemed like a year to post ten albums at the midway point that could find themselves at the top of the heap by year’s end.
Two recent acquisitions, however, may already be vying for best-of-2011 honors. Cults major label debut and Bon Iver’s proper follow-up to For Emma, Forever Ago seem likely candidates for best-of honors. I’ve been playing them back-to-back and have been going back and forth between the attributes of both and where they would rank had I created that mid-term list.
Cults is a summer record, which usually plays to the needs of the mid-year list. It feels current, fun, even urgent. The band has somehow been able to capitalize on the new current obsession over Phil Spector-era doo-wop, but without the tape-hiss their contemporaries seem to fetishize. Conversely, the production is subdued and not so overwhelming. Cults achieved a full, ghostly sound without building a Spector-esque wall[2].
This album is loaded with summertime hits that stick to the amygdala and have a staying power that outlasts the sunshine and long days. Upon dropping the needle, I thought for sure the first track was their “hit”, but the second track is the indisputable hit single of the record. “Abducted” starts out sleepy with mono-like production before unleashing a fully stereo bombast. The bass drives this song as does the emotional female vocals of Madeline Follin and her back-and-forth with Brian Oblivion[3].
Track #2, the real hit better known as “Outside”, is the sleepy summer song Sleigh Bells never wrote. Even as out of touch with popular singles as I am[4], this song was instantly recognizable to me. Spacey and retro production encases this ditty about longing to go out into the nice weather while a fading love wants to hole up inside. Is there a better topic for a summer track than this?
Touches of Walkmen linger as the third track, “You Know What I Mean”, with dreamy guitar jangle and echoed snaps provide a beat for easy slow dancing. “Most Wanted” is a dance hit with whiny-girl vocals and wavy piano backing, broken by well-timed guitar muscle. Big beats open “Walk at Night”, maybe the most chillwave[5] of the bunch. Still, I can’t help but think of the Walkmen as bits of vintage guitar seep in, under the dance-inspired production. It wouldn’t seem to fit, but it works.
The vintage summer vibe continues from there as “Never Heal Myself” carries the torch admirably.
“Oh My God” is your “Outside” companion piece as Follin laments about what could be if she wasn’t shackled to her lazy partner who prefers sitting inside to catching some rays. The beat and bass are heavy on this one, but that Wall of Sound aesthetic has made its impression. Sonically, this track showcases what can be done with a drum machine, guitar, and a capable female vocalist. Really, this is a big summer record. The two tracks about lazy boyfriends sitting inside capture the moment well and should be on everyone’s summer playlist.
Doo-wop and whatnot fills the rest of the record, rarely straying. The record closes with the great track “Rave On” that uses the quiet-loud dynamic expertly, showcasing the production and instrumentation that litters the previous tracks. All this brings to close an album that will undoubtedly make every year-end list. Expect it to be a part of mine.
That said, Bon Iver/Justin Vernon has recorded a nice album himself.
The perfect storm of a much-anticipated follow-up to a critically-acclaimed debut (with a novel-worthy back-story[6]) as put out on a great indie (Jagjaguar) after a year or two of impressive collaborations arrived last week in the form of Bon Iver. Maybe the most impressive part about this record is that it makes me hesitate to put Cults at the top of my (nonexistent) mid-year list.
Instead of writing songs about one place (girlfriend-less, band-less, depressed Wisconsin shack), Justin Vernon has opted for a record featuring locales from all over the world and consciousness. And that’s not the only place Vernon has parted from For Emma, Forever Ago. From the first track, “Perth”, it is apparent Bon Iver is a different band sonically. The sound is big, even loud and aggressive. Electric guitars! Electric guitars!
“Minnesota, WI” opens with something that closely resembles everything I listened to at the end of the last century before leading into vocals that more closely resemble those of Tunde Adebimpe, TV on the Radio’s multi-talented frontman. The aforementioned instrumentation at the beginning of this track reminds me of early Modest Mouse as well as the jazz-influenced indie of nineties Chicago (Joan of Arc, Sea & Cake). All that and there’s some impressive banjo work and the ever-present Vernon falsetto[7].
The third track, “Holocene”, resembles something closer to For Emma than the first two tracks with its sad tale, falsetto, and acoustic guitar. Vernon understands subtlty, dynamics, and phrasing better than most songwriters. This is something he has certainly not lost between albums one and two.
“Towers” is possibly the most upbeat Bon Iver track ever[8], placing it firmly in early-nineties Gin Blossom territory without all the fleeting success that band “enjoyed.” “Michicant” is a touching lullaby that you can feel even if you’ve yet to figure out what exactly is being said. This track also demonstrates Bon Iver’s uncanny ability create to the slow, quiet build like no other band or musician[9].
“Hinnom, TX” sounds like another TV on the Radio track with its mix of falsetto and low echos. “Wash.” follows with a similar feel, but this is quiet, slow-building Vernon at his finest. “Calgary” hints at some keyboards a la Peter Gabriel that will be more dominant by the final track, but I’ll get to that later. Before that, “Lisbon, OH” is simply some ambient noise in order to provide transition to the final track[10]…
“Beth/Rest” might be the most challenging track of the lot. It’s over-the-top, bad eighties quality makes it a tough listen. Had it not been for Destroyer’s all-out-assault on anti-eighties aesthetics earlier this year, this track might have been unlistenable. It certainly sticks out and I’m not convinced it’s good or bad. It just is what it is: a bad Bruce Hornsby song[11]. Still, the track is not a bad song, it’s just a bad choice of aesthetic, much like Vernon’s over- and unnecessary use of Autotune, particularly on “Woods” off Blood Bank[12].
Every great record is allowed its one transgression while still maintaining its value. Bon Iver demonstrates a great artist who continues to expand his sound and experiment without shame while never really losing whatever made us love him in the first place.
Both albums are easily the best of 2011 so far[13], but I’m not yet sure which is better. And does it really matter? Cults fills our need to dance and remember the summer fondly. Bon Iver continues to develop a rich and engaging sound that promises great things with each new release. I honestly hate ranking records as my lists tend to be fluid, something a blog post rarely allows[14]. Just know that these are two of the best records of 2011. Interesting that they came out so close to the solstice, a time we often reflect on what’s happened so far and what has yet to take place. There are many other records set to be released in the coming weeks and months. Hopefully, these two excellent releases are harbingers of things to come.
Notes:
1It was thirteen before these two arrived and there are several pre-orders just waiting in the wings.
2This is where I wished I understood music production better. First, what makes that wall of sound and why does it sound so ghostly, spacey?
3Somehow, I doubt “Oblivion” is Brian’s real last name. Either way, it’s as rock ‘n roll a name as I’ve seen in a long time.
4I love individual, great songs, but I hate singles. I feel that starting with the cassette single and ending with whatever age of mp3-dominated crap we currently find ourselves, the single has nearly ruined popular music. The best “singles” are the hidden gems embedded into great albums.
5I still don’t get what exactly chillwave is, but it seemed to fit this track.
6Yet another novel I will never write. In fact, I thought an excellent novel would be one where the album never sees the light of day. It’s just the story of the time a guy spends in a cabin, writing and recording music about his various breakups in bands and relationships.
7I really wanted to work in something regarding this piece on wimpy indie rock, but I couldn’t figure out where it fit. I might revisit it, but the topic is a bit outdated.
8This isn’t saying much.
9Rivaled only by Yo La Tengo’s ability to complete the slow build, quiet or loud or both.
10I’m not gonna lie. The record could have ended here.
11I crossed out “bad” as I feel this would have been redundant in describing Bruce Hornsby’s work.
12At least he used loops and layers with the Autotune in creating something totally original and engaging. That said, of all the dudes in indie rock, Justin Vernon needs Autotune the least.
13Well, Fleet Foxes might have something to say about this.
14I use lists all the time, but they never truly represent how I feel about music or beer. It’s just a lazy way to write about stuff you like. The order in which these items are placed add another dimension to the topic that isn’t inherent in the text.
An Open Letter to Archers of Loaf
I found this nice picture of you. I clipped it from that Vulture piece you did.
Dear Loaf,
It’s been a long time, my old friend. I’ve missed you very much. It seems that you’ve only had time for a few of us, so I’ll make this brief.
I saw you on the television this past week. You guys sounded great, making me yearn for those years past when we used to meet up at Stache’s (twice), the Euclid Tavern, or that shitty metal club in suburban Cincinnati. Those were some good times. You tore up tiny stages and dealt with rowdy punks. You flirted with the devil and chose the higher ground. In my mind, you were kindred spirits with those of us trying to find our way through college with our blue-collar backgrounds[1].
Then, you broke up sometime in the last century. At first, I was hurt, but as new projects emerged, some of that void was filled[2] and I eventually found other music to distract me. Still, I often returned to the material from those glory days and remembered our time together with great fondness.
And as the years passed, several of your contemporaries decided to give it another try, often reaping the benefits of nostalgia. Yet, Archers of Loaf stayed away, never even hinting at a reunion. I was okay with this as I figured you all had better things to do with your time. Also, I’ve had plenty of opportunities to get in touch with my lost youth. Your slot would just have to remain empty.
Then, you did it. Without saying a word, you showed your face in your old stomping grounds[3]. There were whispers and rumors and then a summer festival. It looked like Pavement all over again. However, this was different. I saw you before I ever saw Pavement[4]. This was a longer time coming for sure.
As dates for your reunion were announced, I grew disheartened. The closest you would come to my home would be Chicago and that was the same weekend as anniversary of my marital union. There was no way I’d get to see you again. My dreams and hopes of us getting back together were shattered.
The strange thing is that as I watched you play for Jimmy Fallon[5], a peace grew within me. It became clear that you did this reunion thing right even if you didn’t come within 130 miles of my home. You didn’t record any new music in a half-assed manner just to cash in on the Loaf nostalgia. You didn’t play every summer festival or late night variety show in hopes of big money. You’re not releasing some ungettable box set on a major label. Nope. All you’ve done is play a tour much like the ones you played back when I knew you in support of the reissues of your catalog as put out by long-time friends Merge Records[6]. That’s reuniting the right way.
So, as you wrap up this summer tour and sail off into indie rock history for the second time, feel comfortable in the fact that you did the indie rock nostalgia trip the way Baby Jesus would have wanted. I hold no ill feelings and wish all of you the best in your future endeavors.
Best,
Zac
Notes:
1I don’t even know that this was true. It’s probably not a fair label, but Archers of Loaf appealed to that part of me. Many of the friends who held a similar appreciation for the band had similar backgrounds. Loaf was direct, to the point, and seemed to speak for the blue-collar ethos both lyrically and aesthetically.
2The Crooked Fingers material was very different, but once you saw the live show, you still felt that Archers of Loaf urgency.
3Cat’s Cradle.
4Weeks in fact.
5Does Jimmy Fallon even own an Archers of Loaf record? Did he know who they are/were? Maybe I’m underestimating Fallon, but I doubt it.
6Of course, judging by Arcade Fire’s sales numbers, Loaf could still reap some benefits.
The Rats & People Motion Picture Orchestra
This is a review I did for The Collective. Sorry for posting two of these in a row, but I just haven’t had the time for unique content. There’s a post coming regarding the best albums so far (not as long a list as you’d suspect, not really a list). I’ll probably do something on a brewery as well as those get the most traffic.
In the age of THX and 3D film, it’s hard to believe anyone would want to see a silent film made in 1925 Soviet Union, much less play music for said film. However, that’s exactly what The Rats & People Motion Picture Orchestra of St. Louis did Thursday night. On the screen was Sergei Eisenstein’s Strike, the story of a pre-revolutionary strike and violent suppression.
For the time period and lack of soundtrack or dialogue, Strike is a rather…well…striking film with fine performances, an impressive amount of action, and some interesting use of file footage of factories and slaughtered cattle. Silent film is often known for the appearance of over-acting. Not only did actors have to make up for the lack of audio dialogue, but the unusually fast pace of the film often gave the impression of hyperactivity. That said, the cast in Strike were incredibly engaging and convincing in their roles. Several scenes were rather exciting and included some intense physical acting not seen in today’s film as stunt men and CGI tend to suck the life from today’s films. Eisenstein expertly mixed in footage of factories and slaughtered cattle to demonstrate both the hard working conditions of the early industrial age as well as the savagery of union busting in Russia prior to Soviet takeover. All in all, Strike is a film well-deserving of revisiting even 85 years later, especially in light of all the labor disputes of our own time.
Considering all of that, Strike still would have been severely lacking in context and drama had The Rats & People not played the soundtrack. Where dialogue was missing or could not be adequately translated in subtitles, the orchestra filled this void with an expertly composed and emotionally performed piece that rivals the best soundtracks of today. In fact, where a soundtrack for a modern film only has to suggest pace and urgency, performing an original piece for a silent film has to do so much more. The composer’s challenge is to write music that tells the story where the images leave us wanting more. The musicians’ purpose is to convey emotion and exigency only through the squeals of their strings, thunder of percussion, and the bass’ groove. The Rats & People do all of this extremely well.
Although the film is unavoidably dated, the themes and drama are pertinent to our times and the orchestra’s performance went a long way in making that apparent. Although much of the instrumentation comes off as classical, a close listen reveals something more post-rock like Louisville’s Rachel’s. Like Rachel’s, The Rats & People apply a punk sensibility to chamber music, understanding the impact images have on the live performance and work within that environment to make some pretty amazing art. All this was achieved in about 80 minutes Thursday in the big theater at Ragtag.
Jerusalem & the Starbaskets – Dost
Punk rock died when the first kid said, “Punk’s not dead. Punk’s not dead!”
And so warbled Silver Jew David Berman, the Nashville poet whose career bridged the lo-fi nineties with the alt.country nineties. His lament perfectly describes the mess that is Jerusalem & the Starbaskets’ Dost.
When I say “mess” I mean it in the most flattering terms. Just as punk rock and traditional country can get a bit sloppy, Dost turns a disaster into something comforting and real. While the songwriting and performances are tight, the vocals and production keep a drunk slob happy.
Mixed into the set of songs, the listener finds perfect examples of garage rock and whiskey tunes, but don’t overlook the bits of Pavement or even touches of Nirvana scattered throughout.
In fact, my first listen made me wonder how things would have been different had Kurt Cobain grown up in Memphis instead of the Pacific Northwest. For one, he would have chosen whiskey over heroin and for two, he would have likely written sad songs as opposed to the angry material he did record. Nirvana could have easily recorded a record very much like Dost had Cobain been from Tennessee and not Washington.
At least two reviews I’ve read on Dost claim that the songs would be better had they received slicker treatment in the studio. The melodies are convoluted by feedback and tape hiss. The vocals are hard to make out with all the echo and overdubs. Some of the subtleties in the instruments employed are hard to pick out due to a messy recording process. Etc.
Apparently these same reviewers hate Guided By Voices and Sebadoh or any number of bands lumped under the lo-fi identifier journalists and bloggers lazily toss around. Dost maintains a certain charm and authenticity with this record’s (under)production. Some hate it, but it lends to the experience of Jerusalem’s material, especially live. One cannot possibly understand how a band translates live if a record is overproduced from studio slickness and autotune abuse.
Where Dost goes right – overcoming whoever’s hangups over production – is in songcraft and delivery. Both sides of the record open with pleasant guitar interludes before launching into garage-based rockers. Those tracks are followed by a mix of country drunkeness and mid-tempo indie rock. All songs fit together without trying too hard to jump genres. The Jerusalem aesthetic holds true throughout.
Singer/guitarist Jeremy Freeze comes from Memphis, bringing with him that Memphis warble, much like Berman does on the lyrics above from the song “Tennessee.” However, Freeze has a piece of Columbia in him as well as our own Kim Sherman sits behind the kit keeping his train on the tracks.
There are electronic flourishes subtly placed on various tracks, but they don’t take over the production, leaving the listener a document that remains true to a Jerusalem live show. And this is where the deliver part comes in. Freeze is a gifted and loose guitarist that moves effortlessly between genres, tempos, and sonics. Sherman is as steady a drummer as one would hope. It’s the backbeat of this band and its obvious connection to post-punk country and independently-created garage rock that hold together the beautiful sloppiness within. Or something like that.
Honestly, I’ve probably overwritten this review. I realized this as I discovered the phrase “no thinking all feeling” on the record sleeve, recognizing that this is the essence of Dost and it should be seen as so. Consider this record a perfect document of Columbia in the summer and put it on repeat.
Highlights for me included “Chocolate Covered Every Berry” (below), “First Cigarette in the Rain”, and “Fuck a Parade” among others. Look for Dost in your local record store or buy it here.
This review was written for The Collective but will publish there tomorrow. Consider this a bonus for reading this blog, but click over to the other sometime tomorrow and possibly Sunday as I have more to say about other things then.
In Defense of BrewDog
One of the most amazing achievements of the American craft beer scene is its overwhelming influence on foreign brewers, particularly those from lands with their own brewing traditions. The movement toward traditional brewing techniques with “extreme” ingredients has greatly influenced craft beer all around the world. One such brewery who has taken what American breweries have done and run with it is Scotland’s BrewDog.
Some like to criticize BrewDog for being putting more hype than hops in their beers. The attitude displayed in their copy and graphic design suggest a similar arrogance found in that of Stone but without the great product to back it up. BrewDog often goes for the gimmick with their insanely high ABV beers like Tactical Nuclear Penguin (32%), Sink the Bismark (41%), or The End of History (55%). There’s also the insanely low ABV brew Nanny State that comes in at a whopping 1.1% ABV. Such stunts cause the skeptical beer nerd to be…well…skeptical.
While the perceived gimmicks above don’t bother me, the fact that I had tried few BrewDog beers that I actually liked said more about the brewery than any marketing strategies. The Tate Modern Saison was nice. Their collaboration with Stone was interesting but not mind-blowingly good. And the IPA’s and stouts I had were okay, I guess. In my opinion, BrewDog did very little to earn my beer money.
Then, I had their collaboration with Mikkeller, the I Beat U. I’m a sucker for insanely hoppy, American craft-style IPA’s and DIPA’s. This one certainly did the trick. I figured that maybe BrewDog had figured out how to brew a proper American-style IPA or that, at the very least, Mikkeller had a positive influence on the brewers from Scotland. I was intrigued enough to keep an eye open for BrewDog’s beers. However, due to some changes in distribution, BrewDog is no longer available here in Missouri.
Enter my trip to Spain.
I have more to say about the trip and the beer there, but BrewDog deserves their own post, review. After several fruitless searches for good beer bars and stores, I finally discovered a gourmet food store on the Rambla de Catalunya in Barcelona. While there were many interesting beers from which to choose, I had to think strategically. My day pack didn’t allow much room for beer (nor did my back want to lug that much extra weight). Plus, we were leaving the next day for Granada. Carrying a load of beer on a plane with no checked luggage did not appeal to me. So, I went with six 11.2 oz BrewDog beers. Let’s review…
IPA Is Dead Sorachi Ace and Citra
Both IPA’s were single-hopped with identical malt profiles, 7.5% ABV, and 75 IBU’s. The idea was to single out popular hop varieties in order to discover the virtues of each. Mikkeller has done the same, but rarely have their versions been as intense as these two beers. First, I tried the Sorachi Ace, if you recall, the centerpiece hop in my own New Slang Saison. The flavor and aroma were huge on this one, but Sorachi Ace really should be used sparingly or in combination with other hops. The hop at 75 IBU’s just comes off like lemon-scented cleaning supplies. Still, it was an interesting experience as I watched The Simpsons dubbed in German on the airport hotel TV.
Next came the Citra-hopped beer. Wow. I can see why this hop is quickly replacing Simcoe as the hop-du-jour among professional and amateur brewers alike. It’s so citrusy and not harsh at all. Excellent beer.
Hardcore IPA
Before heading out for the evening, a friend and I decided to break open this DIPA. Hoppy with the proper malt backbone to balance…This was nothing like any BrewDog IPA/DIPA I had consumed previously. Aside from the single-hop beers, this beer easily proves BrewDog’s worthiness among American craft beers.
Bitch Please, Paradox, and Tokyo
After the Hardcore IPA, we had a dinner with friends in their mountain-side village home. I brought these beers as a contribution to the meal. We saved them for after dinner, which was the right thing to do. I opted to start with the Bitch Please barley wine, a collaboration with Three Floyds. Fucking A. I figured the barley wine wouldn’t stand up after the two big imperial stouts, but that was a silly thing about which to worry. It was the peatiest thing I’ve had not in a Scotch bottle. Unreal how peaty this beer was. Luckily, I was sharing.
Second was the Paradox…oak, bourbon, molasses…This was the quintessential Americanized imperial stout for which we all crave. This beer came correct and stood up to the peat in the previous beer. At this point, I was clearly sold on the BrewDog’s legitimacy, but the ability to brew an imperial stout such as this one cinched it.
Finally, we opened and slowly sipped on Tokyo. I am a huge fan of Dogfish Head’s World Wide Stout and this beer is its equivalent. Sweet, syrupy, black coffee, and bourbon…Oh, and tons and tons of booze. They aren’t joking when they claim this beer to be 18% ABV. It kicked our ass for good, but it was totally worth it.
After trying these six beers while on holiday, I am a huge BrewDog fan and believe in their ability to brew big beers. I know that between their hype machine and forays into mediocre brewing, they have lost some of you. However, it’s never too late to come back and try BrewDog again. Now, if only they shipped to Missouri…
An Evening with Yo La Tengo
I hate posting two things on the same topic/event so closely together, but this allows me the opportunity to regain some followers as they see my rate of posts increase. Also, I hate to post simultaneously on two sites, but I’m doing it anyway as that other site pays in paper. This was last night’s show I previewed over the weekend. The hope here is to follow this with a beer review and who knows beyond that. Maybe I’ll eventually write that Spanish beer post I’ve been sorta promising.
Yo La Tengo and their wheel of fortune/fate/salvation took the stage in a partially-filled Blue Note last night. There might not be a more ideal summer show in Columbia. The audience was dominated by locals who were mostly old enough to have seen Yo La Tengo in the early and mid-nineties, not undergrads as the kids were home for the summer. Still, YLT just seemed happy to be there and played two well-received sets.
The first set was determined by said wheel. CoMo YLT fanatic Karen Truckey was virtually pushed on stage by friends to take a go at the wheel. However, guitarist/vocalist/organist Ira Kaplan added a twist. Courtesy of Gotcha!, Kaplan revealed masks he and Truckey would wear for the ceremonial spinning. The “contestant” smartly opted for the Power Rangers helmet so as to avoid any rousing about furries and whatnot. Kaplan was left with a dog mask and the spinning of the wheel commenced.
The wheel started spinning at some point in 2010. Yo La Tengo had been together for over a quarter century and needed to spice up their live show. The wheel leaves a set or a portion of their set to chance. Possibilities include sitcom reenactments, sets consisting of songs that entirely start with “S”, a request/Q&A, etc. The wheel has allowed YLT sets to be free from repetitiveness and banality.
The wheel was finally spun after Truckey leaped onto the stage and masked were donned. For me, the worst would have been the sitcom reenactment. It’s been done and you can see it on YouTube. The second-least anticipated result would have been either part of The Sounds of the Sounds of Science soundtrack…and that’s what we got.
It’s hard to get excited for 20-30 minutes of music created to soundtrack a French documentary about fish, but it actually blew away that limited perspective. Employing a wall of sound built slowly from a simple keyboard progression, Yo La Tengo demonstrated chops to make beautiful noise not normally witnessed outside anything associated with Sonic Youth. The mini-set was explosive and powerful. It’s a wonder to watch Kaplan strum, beat, dangle, scrape, whatever to get the most perfect feedback. I’ve been witnessing it for almost twenty years and it never grows old. Sounds of Science was that rare moment when one of your favorite bands finds yet another way to impress you with something new.
The wheel set concluded with three Condo Fucks tunes. I assume the band picked up on the crowd’s preference for the material they recorded under the CF moniker and obliged with “So Easy Baby”, “With a Girl Like You”, and “Come on Up.”
After a brief intermission, the night continued with a proper Yo La Tengo set, a set that could be described as a “dream” or “ideal.” It opened with “Autumn Sweater” followed closely by the sprawling and beautiful “More Stars Than There Are In Heaven.” The somber “Tears Are In Your Eyes” and fan-favorite “Stockholm Syndrome” after that. “Beanbag Chair” and “Black Flowers” from I Am Not Afraid of You and I Will Beat Your Ass came next; the second of those two featured the forgotten vocal talents of bassist James McNew. Then, the band worked through an acoustic “Big Day Coming”, the groovy “Periodically Double or Triple”, the driving “From A Motel 6”, the ever-present near-hit “Sugarcube”, and the epic “I Heard You Looking.”
At that point, the Yo La Tengo faithful received their money’s worth. Still, YLT returned for an encore of the Tom Courtenay b-side “Bad Politics”, acoustic rarity “Alyda”, and the subdued and lovely “Center of Gravity.” The finish provided time to reflect and be content with the evening behind us.
In the conversations that followed our Evening with Yo La Tengo, several themes emerged. Ira Kaplan is a madman on the guitar, but tonight, he was restrained and provided just enough theatrics to enthrall his minions. James McNew is the steady bassist with surprising vocal chops that every band needs. Georgia Hubley has earned the distinction as one of indie rock’s finest drummers as well as the owner of a killer voice that soothes and fills a room without flash or bombast. But the impression that was most indelible is that Yo La Tengo is an ageless wonder who play with the same youthful fervor they did 15, 20, 25 years ago, not to mention their appearances demonstrate the same agelessness.
Yo La Tengo owned CoMo last night. This will be a tough show to top for some time. The kids don’t know what they missed.
New Slang Saison, pt. 3: Bottled Up
After somewhere between three and four weeks in the secondary, the Saison is now bottled. Below is what happened.
I had to gather a variety of caps as I was unsure which would fit the few 750 mL bottles I had gathered. My only worry is that some of the bottles wouldn’t let me affix either size cap on straight.
I’m not sure why this beer looks so dark. It’s more of an amber color, which doesn’t really match the style.
Secondary to Ale Pail. Pail to bottle.
I’m trying out several different bottle sizes to see which suits me best. I also tried some of the beer and can’t wait to see what a little carbonation does to it.
Possible Yo La Tengo Set List
Yo La Tengo are set to play Columbia this week. This will mark yet another favorite band from my past make the long journey through the Show-me state since I moved here six years ago[1]. I might not be able to see the Loaf reunion tour, but I will get to see YLT Monday.
A Yo La Tengo set is a thing of beauty. Currently, the band has incorporated a game show-style spinning wheel loaded with a wide array of possibilities for their sets. The band once famously acted out an entire episode of Seinfeld simply because the wheel told them to do so. Even with this little gimmick, a Yo La Tengo set is one that fully exploits both the scope and sequence of the band’s repertoire[2].
With this in-mind, I’ve attempted to make a few predictions about Monday’s set. I won’t begin to predict what the wheel will suggest, but I think I can make ten safe predictions for the rest of the set.
1. Yo La Tengo will play some combination of three of their “hits”/most loved songs. This means that the band could launch into their latest single “Nothing to Hide” in which the video featured Times New Viking playing the part of YLT in a Columbus, OH record store. More likely, this portion of the set will include some version of “Sugarcube“[3], the radio-ready “Cherry Chapstick“, or the subdued and lovely “Stockholm Syndrome.” I hope “Autumn Sweater” makes an appearance.
2. Yo La Tengo will play at least one cover song you won’t expect. As far as the ones you might expect, there is “Nuclear War“, “Little Honda“, “Speeding Motorcycle“, “The Whole of the Law“, or any number of covers they’ve made semi-famous. This band could easily make a living as a cover band who takes requests as their knowledge of pop and rock music is unmatched. My money is on “Take Cover”, the Big Star cover at the conclusion of Summer Sun. Big Star somewhat famously recorded a live record at the University of Missouri in 1993. Of course, the track doesn’t appear on the Big Star album. So, we might get another Big Star tune in the set[4]. Or something like this…
3. At some point, Yo La Tengo will stretch a song out for an extended jam that will either leave you breathless of bored. Many a YLT song already fill this niche without supplement as they are upwards of 8, 9, 10 minutes long. If the band does finish with “Nuclear War”, who knows when it will end. However, one should realistically expect one or more of the following to be played: “Big Day Coming“, “Blue Line Swinger“, “Spec Bebop“, anything off And Then Nothing Turned Itself Inside-Out, “Let’s Be Still“, “The Story of Yo La Tango“…I could go on and on. These are just a few tracks the band already stretches into jam sessions on their records. They may very well stretch any song from their discography into a 15-minute epic trip through shoegaze land.
4. Yo La Tengo will play at least a second cover[5], possibly something newer and more obscure. I’m betting a Times New Viking song makes it into the rotation. This is a left field forecast, but I have a hunch that the band will play something newish that they’ve been listening to, possibly by a band with which they’ve been touring. It may also turn out to be a Teenage Fanclub song as Norman Blake was set to be a part of the bill but had to drop their tour at the last moment.
5. One extended jam will spiral out of control, completely deconstructing before our eyes. Additionally, Ira Kaplan will convulse uncontrollably on his Hammond B3 organ or guitar[6]. Songs that may earn this treatment include “False Alarm“, “My Heart’s Reflection”, or possibly anything from that Condo Fucks record, in which case it will be an extremely fast deconstruction.
6. One of Yo La Tengo’s more gimmicky routines will rear its ugly head. Most likely, the song fulfilling this prophecy will be “You Can Have It All” where Ira and James McNew do a dance routine and Georgia Hubley plays keyboards and takes lead vocals. This honor could also go to “Nuclear War” where the band creates a drum circle on stage to perform the Sun Ra classic before marching their way to the back to the venue as an encore.
7. At some point in the set, there will be a pop block[7]. This means that a selection – probably 3-4 – of the band’s poppier fair will make a showing. This could include a nice ditty like “One PM Again” or something more ambitious like “Here to Fall.” Either way, this should be the portion that will win over the more skeptical members of the audience. I suspect “Let’s Save Tony Orlando’s House” will win a few folks over.
8. There will be at least one really obscure track from Yo La Tengo’s vast discography. This is the kind of stuff that fills old hats like myself with eager anticipation. Of course, these will also be the songs you’ll hear that drunk dude in his mid-to-late-thirties scream for all evening. Although they’ll play something old and obscure[8], I suspect they won’t play everything I want to hear. My list includes “False Alarm”, “Decora“, “Barnaby, Hardly Working“, or anything with “Hot Chicken” in the title.
9. Being that the show is scheduled for a hot and steamy summer night in Columbia, I expect a slow, summery kind of section in the YLT set. The band writes songs that were meant for summer evenings on the porch, sipping a beer. “Pablo & Andrea” is one of those songs. “Autumn Sweater” is another. “Our Way to Fall” is a third. Let the summer of cicadas[9] roll on.
10. The last prediction has little to do with individual songs but is sort of a summary of the previous nine predictions. Monday’s Yo La Tengo set will include way more than the tracks off their last album, Popular Songs. The album came out two years ago, meaning their newest material is relatively old. So, I expect a set filled with songs from various points in their 27 year history. Sure, it will probably be heavy with songs from this century, but I won’t be surprised to see a smattering of songs from the previous two decades as well.
1There’s no official list, but Archers of Loaf and Sonic Youth are the only two bands that come to mind I haven’t seen in the last six years in Misery. Loaf doesn’t look promising, but Sonic Youth should come through at some point. I wanted to see SY in StL a while back, but the planets just didn’t align.
2Of course, as mentioned before, I haven’t seen the band perform in over six years. Who knows what kind of set they play these days. As with most of my heroes, I just hope they’ll throw me a bone for a few songs. Otherwise, I’d be happy with a set heavily leaning toward their recent releases, particularly Popular Songs as it is their strongest effort of the last ten years.
3There are both fast and slow versions of this song out there. I’d be happy with either or some combination of the two. Hell, even a mid-tempo version would be cool.
4I am not that familiar with Big Star’s discography. So, whatever BS song they play will be somewhat new to me.
5I admit that this is a copout, but I’m basically suggesting they’ll play a cover you recognize and one you won’t.
6Actually, he may start dry-humping the equipment. I’ve seen him do this on numerous occasions. Somehow, it always sounds incredible.
7YLT have a portion of their repertoire that nods to the likes of Cat Stevens, Elvis Costello, and Harry Nillson. This might not be what some people consider pop, but the music these artists (among others) have created fit better in a pop context than they do rock or anything else. YLT have this same pop sensibility…when they’re not shoegazing.
8In this case, “old and obscure” really refers to anything from the early or mid-nineties. It’s easy to forget that was 15-20 years ago. Many kids weren’t listening to YLT back then. Hell, most of them weren’t even born really.
9Apparently, the cicadas around here were deafening. Luckily, I missed the worst of it. I also missed the local ice cream parlor’s cicada ice cream and my neighbor getting accosted for using a power saw that tricked many a cicada into trying to mate with him.
10This is the hidden footnote with no link above. Sorry for not posting at all this past week. I wanted to, but I fell asleep in front of the TV every night since returning from Spain. I finally feel as though I’m getting my blogging legs under me again. I may have a beer post coming up and will definitely let you know how this show went. For a truer preview, check out what Tina Roselle wrote over at the mother ship.
Still In Spain, Still Alive
We’re still here and I’m making due. Trust me, the selection above is not what I’ve typically had here with my tapas. Still, it’s been interesting. I’ll get back to full-on blogging within a week.
Beer and Pavement 
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