My True/False Preview: 5 Things
While I am not the most experienced, not most in-the-know person attending this year’s fest, I do have five of these buggers under my belt. So, that has given me some insight into a few things you should keep in-mind for this year’s edition. Here are my top-5 things to remember as you enjoy 3-4 days of docs, drinks, and dancing:
- Plan your Q carefully. The Q is what non-ticket-holders use to get into films they really want to see. The key to the Q is to show up at least an hour ahead to get your number. Once the numbers are passed out, you’ll have 45-50 minutes to kill. It used to be that one could get into almost any film on the Q, but that’s not the case as the fest has grown. I’d suggest Q’ing it up for films in the larger venues such as the Missouri Theatre, Blue Note, or the Windsor Cinema on the Stephens campus.
- Take your own food and water. On paper, the schedules look spacious. It appears there’s a lot of time to grab a bite between screenings. However, after staying to hear some Q&A from the filmmakers and enjoying the walk from Stephens College to the Missouri Theater, passing crowded eatery after eatery, you’ll come to realize that there just isn’t time to eat. Take some food with you. I suggest any kind of sandwich that fits under the “pocket” or “wrap” category. Also, take a water bottle and rehydrate whenever possible.
- When you do have time to eat, I’d suggest breakfast at Uprise, Booches Burgers for lunch (and hangover cure), Kaldi’s for that afternoon caffeine jolt, and happy hour sliders and beers at Sycamore. Sure, those are some decadent options, but it’s a festival. Be festive!
- Don’t carry all of your tickets at once. It’s too easy to lose that manilla envelope your tickets come in or accidently let one ticket slip out as you pull from your stash. I always organize my tickets by day and leave the rest in a safe spot at home, ready for the next day’s onslaught of nonfiction.
- Enjoy like there’s no tomorrow. If you can see ten films this weekend, go see eleven. If you are done with the films for the day, there’s sure to be a party or band showcase you can attend. Don’t worry about overload. You can rest next weekend. Besides, like Xmas, True/False only happens once a year.
Those are my “things.” Some other Middle Missouri bloggers have other ideas. Most are captured at Capturing COMO. Show-Me Eats has your menus all picked out. That and there are a million and one Twitter hashtags in use for the weekend:
- #tf11 – Ignore the posts about toys. Effing toy fairs.
- #truefalse
#eyeswideshut – Don’t ask.- #relevanthairstyles
- #tfeats
- etc.
I’ll recap here after the weekend is through. You can also go to a new spot, CoMO Collective, if you want more T/F reflection.
My True/False Preview: Events
Some people actually attend True/False for the parties. I typically don’t, but an upgrade in passes and a request to blog this thing has me scheduling in some non-cinematic events. Here’s a rundown…
The Jubilee
This is a new event that coincides with Benda Bilili!. Columbia’s best bartenders will be serving drinks, which just means they’ll be pouring me beer. We have a tight window to make this one, but I think we can sneak in a drink. I’m mostly looking forward to seeing folks spiffed up for the event (more on my own attire later).
March March
The current plan is to run from our first Friday film to our kids’ daycare and back to the March March location. Basically, it’s a parade where everyone marches and they all dress for the occasion. Hopefully, the rain their calling for doesn’t fall.
Reality Bites
Directly following the March March, there will be refreshments in the Missouri Theater, the endpoint for the parade. We used to be able to attend this party with a Simple pass. This year, we’ll return with the necessary Lux pass. Various local restaurants serve up some of their finest appetizers to washed down by some Schlafly Beer.
@ction Party
My first T/F featured my stint as a volunteer, getting the opportunity to clean up what’s supposed to be Columbia’s best party of the year. I’ll come late as a I have a late film to catch, but it will be fun to check out for the first time from the party-goer side.
True Life Run
OK. We’re not doing this. We talked about it, but it never happened. Besides, I haven’t worked out in two weeks. I’m not ready for such an event. We may have to make time to cheer on those brave enough to party all night and run all morning.
Filmmaker Fete
It was suggested that I get into this. I don’t know that there’s room in my schedule, but the food comes from my favorite restaurant in town (Sycamore) and it’s loaded with filmmakers. We’ll see if I get the call or just stick to my film schedule.
Mojo’s A-Go-Go
After a film, I’ll sprint over to Mojo’s for a rock show of the highest order. It’s maybe the hottest ticket in town and I have one. Kings Go Forth, Netherfriends and Hai Usagi make up one of the most interesting lineups of the last year. It should be a good way to end my Saturday night.
Some Party
I’m not at liberty to really say anything about it, but I’ll be partying into early Sunday morning. I’ve already said too much.
Closing Night Reception
I once chose a film that was not the closing night film and sort of felt like the fest didn’t really have any closure. This riot in the Missouri Theater lobby is a good time to recap the weekend and stuff our faces.
Plus, bands, lots of them.
Besides the Mojo’s gig and possibly that party you know nothing about, I will see lots of bands. It’s basically the reason I have a press pass. The bios and a few tracks can be found at the T/F site, but I look forward to hopefully catching some of these bands busking as we wait for films. Among those who have me most intrigued are Believers, Bramble, Malone, Run On Sentence, and probably another band whose blurb and mp3 don’t do their busking justice. With somewhere in the neighborhood of 15-16 films and the events listed above, I’m sure to hear something I haven’t heard before and I’ll like it.
Oh, and friends
I have lived here for five and half years. That has not always been an easy time. It’s felt like five years of transitioning. That is, until recently when I started to feel a part of this community. I will see a lot of friends this weekend. It sort of boggles my mind how many people I know in this town. I never knew this many people in any town or city I’ve lived. It’s kinda cool and makes me appreciate living here that much more.
I’ll have one more post for Friday that will accompany these in creating a BICTBAP Guide to True/False. Then, after the weekend is over, look for posts featuring the events, bands, and films of the 2011 True/False Film Festival.
Placeholder
I was working on a post for today in order to keep up with my three-a-week goal. However, things got busy. So, to hold you over, I’m posting the following pic and will continue my T/F preview later this evening. I’m posting on Wednesday, just later on Wednesday.
I'm legit, I guess.
My True/False Preview: Films
It’s True/False week here in Middle Missouri. T/F is a documentary film festival that makes life worth living in these parts. This year, I have upgraded passes and will see even more nonfiction films than ever before. I have more to say about this in coming days, but here is my rundown of the films on my itinerary. These are not reviews. They are just preliminary thoughts on each film, sort of my first impressions based on short descriptions and trailers. It will be interesting to see how close or far off I am in my assessments before even seeing one film. Anyways, here it goes…
9a. Blood in the Mobile; Thu, Mar 3 5:30PM; Big Ragtag
Electronics are made out of precious metals that have to come from somewhere. At some point, all of us mobile phone lovers have to recognize this. This film will probably make me sick that I’ve ever made a cellular phone call.
7a. The Jubilee (w/ Benda Bilili!); Thu, Mar 3 7:30PM; Missouri Theatre
We’ll hit the MO just in time for a drinky-drink, but Benda Bilili! is on our list. There’s nothing that says “True/False” like a film about paraplegic musicians from Kinshasa. Even if the film sucks, the environment will be electric, thanks to the booze served at the Jubilee.
34a. Secret Screening Purple; Thu, Mar 3 9:30PM; Forrest Theater
Any film about punks piques our interests. This will be our third film and third theater of the night and we usually don’t start seeing films until Friday. It should be a fun year.
8a. The Black Power Mix Tape 1967-1975; Fri, Mar 4 3:00PM; Big Ragtag
This was the must-see on our lists this year. I feel the Black Panther movement has received a bum rap in recent years. It’s time to hear their story. I have high hopes for this film, but I suspect it will just let me down. Either way, I will be on the road right before this screening. I’m hoping to make it back to town in time to make it. If now, we reserved Sunday tickets as well.
42a. The Woman With Five Elephants; Fri, Mar 4 5:00PM; Forrest Theater
This was a filler. I suspect it will be boring and we’ll skip it so that we can eat. That means it will be the film of the festival and I’ll regret it as the filmmakers collect their Oscars a year from now.
26a. North From Calabria; Fri, Mar 4 6:30PM; The Chapel
We reserved this one because my wife has Polish roots and spent some time there. As is usual for this sort of film, I suspect it will be interesting and intimate, a worthwhile watch.
39a. To Be Heard; Fri, Mar 4 7:30PM; Little Ragtag
This was a priority on the feminist watch list. It’s about some female slam poetry from the Bronx. That alone should be a nice pairing with The Black Power Mix Tape.
36a. Shut Up Little Man! An Audio Misadventure; Fri, Mar 4 10:00PM; Little Ragtag
This one looks like it could be ridiculously funny…or mental masturbation. Still, I’m interested in hearing the story behind this DIY, punk enterprise of cassette tape recordings of two drunk neighbors. That late on a Friday will either encourage me to wait it out or skip out for the @ction Party.
20a. Hula & Natan; Sat, Mar 5 10:30AM; Windsor Cinema
No 5k fun run for us. All I read about this one is that it’s a comedy set on the Gaza Strip. Let the hilarity reign over the most fucked up region in the world!
19b. Habana Muda; Sat, Mar 5 12:30PM; Little Ragtag
This was not my pick. I read it as being about a threesome, but others read something more sinister and troubling than that. So, I’m in.
13b. The Burger and the King; Sat, Mar 5 3:30PM; Blue Note
Who doesn’t want to see a film about Elvis’ diet?
29b. The Redemption of General Butt Naked; Sat, Mar 5 5:30PM; The Hive
The title alone should interest you, but I can’t figure out what it has to do with anything. Basically, it’s about a Liberian warlord who turns his life over to God. That sounds fishy to me, which typically means T/F gold.
4c. The Arbor; Sat, Mar 5 8:00PM; Little Ragtag
In the description, this one sounds like a snooze-fest, but the trailer presents a lot of mystery and intrigue. The combination of archival interviews and dramatic interpretations of actual events provides something I can get behind. I’m really interested to hear this story.
31c. Secret Screening Black; Sun, Mar 6 10:00AM; Little Ragtag
I’m certain this one was featured in a This American Life a while back, but that’s a secret of course. It features anarchists (with the assistance of the FBI) setting each other up to throw molotov cocktails at George Bush or something. Sounds like a party.
8c. The Black Power Mix Tape 1967-1975; Sun, Mar 6 12:30PM; Forrest Theater
See above. I’ll see it here, if I don’t see it Friday. If I see it Friday, some lucky person in the Q will get my seat.
28c. The Pruitt-Igoe Myth; Sun, Mar 6 3:00PM; Forrest Theater
From a regional standpoint, this looks to be an interesting take on the failed public housing experiment in St Louis. It’s also timely when investigating the failed American dream in these times of economic desperation. I suspect the film will either be enormously intriguing or a bore. I predict the former.
25. Moving Windmills: The William Kamkwamba Story; Sun, Mar 6 5:30PM; Little Ragtag
A friend dragged her feat and didn’t score any tickets. I might give up my ticket and pass for one screening so that she can get away for 90 minutes.
23b. Life in a Day; Sun, Mar 6 8:00PM; Missouri Theatre
The closing film is an experiment in crowd sourcing. It should be a fun way to end the weekend.
That was a brief rundown of what I will see this coming Thursday through Sunday. On Wednesday, I’ll tell you what else I’ll be doing over the weekend. If you’re attending, tell me what you plan to see. What do you know about any of these films? If you want to know more, check out the T/F site.
(Sorry. There are no footnotes. I was lucky enough to find time for this post let alone numbered ramblings.)
I Am a Lukcy Basartd
I am a lucky bastard for many, many reasons. There’s my family, including the two loves of my life. One of those loves is my daughter who always comes before beer and Pavement[1]. There’s the smartest, most interesting woman I have ever known who allows me to sleep in a bed with her[2] and was willing to fill out marriage papers with me five and a half years ago.
As demonstrated in this blog, I have little about which to worry. There have been the jobless scares, that time I hit a deer, and a few other minor brushes with misery, but my problems are typically first-world problems[3]. The kinds of problems I have are the kind that only happen in America to middle-class, white dudes. So, that makes me pretty lucky.
I’m lucky that I can write about craft beer and indie rock as a hobby. Hell, I’m lucky enough to be able to afford craft beer and indie rock. Someone who reads said writing even offered me a free Archers of Loaf poster, circa 1997. That too makes me pretty lucky. Life’s good.
Another way in which I’m lucky is that I have family in another market who will fill my need for hard-to-get beers[4]. Even though we here in Missouri will be getting beer from Stone in the spring, there are some brews for which I can’t wait. Tonight was my lucky night because I popped open a Lukcy Basartd[5] Ale, a blend of all the Arrogant Bastards (regular, oaked, and double).
Oily, grassy, citrusy hops smack you as only a bastard would. The sweet maltiness of all Bastards is there and it’s welcomed. The dry-hopping sets this beer apart from its brethren IMHO. With all that, this beer is not as intense or astringent as the originals. The right touch of oak and hops balances this beer nicely. I truly am lukcy to be able to drink this beer. Now, if only they’d hurry up and ship some to the Show-Me state.
Notes:
1Especially when she tells me that she will drink and brew beer with me when she’s bigger and when she asks me to sing the “Ooh-Ooh Song” (aka “Cut Your Hair”).
2When I’m not snoring, that is.
3Of course, it’s all relative. Problems are problems. Problems don’t compare outside of their context. For example, the protests in Wisconsin and the Middle East are not the same thing, but there are parallels to be drawn. However, I won’t do that here as this blog is about first world worries: beer and indie rock.
4This too is relative. Beers that are hard for me to find are easy for my family in Ohio and vice versa. Luckily, I’ve done right by all them to afford me the luxury of “importing” beer from the fertile markets in the Buckeye state.
5This is how they’re spelling it. You should see the narrative on the back of the bottle.
The Archers of Loaf Oeuvre, part 3
This is the third of three parts of the Archers of Loaf oeuvre. Some of these tracks have already been reviewed. So, I’ve simply marked those as already seeing BICTBAP treatment. Also, you should know that I was up until almost 1 AM this morning finishing this freaking post. Work’s been crazy, I have had very little sleep, and this one in the series took some listening and reading. So, check it and recognize.
EPs and other collections
Vs the Greatest of All Time (Alias, 1994) – Seriously. This EP has to be one of the greatest EP’s of all time. From the band of many great segues, Vs transitions from the heartbreak of Icky Mettle to the blue-collar anger of Vee Vee. Ironically, “The Greatest of All-Time” does not appear on this release.
“Audiowhore” – A&R guys, producers, agents, whoever leaches off bands, those are the audio whores. This is a running theme throughout Loaf’s material. They came up in a time when it was wondered who would be the next Nirvana. There was a time Archers of Loaf were courted by Madonna’s Maverick Records. This also marked a turn from break-up songs to railing over major labels.
“Lowest Part Is Free!” – This phrase reminds me of the “lowest common denominator,” something A&R and major labels look to hit with each new signing. The band was pretty clearly anti-major label at this point, pretty sick of the whole scene.
“Freezing Point” – Sometimes the best way to move on from a breakup is to literally move on. Doing an east coast tour, getting out of town might be the best way to get out of Dodge, or Chapel Hill. This song could have closed Icky Mettle, but it would have overshadowed even that album’s strongest tracks and would have changed the narrative drastically. It works better on this ‘tweener of an EP.
“Revenge” – Despite being an all-time, great, punk rawk stomp, “Revenge” awkwardly changes subjects from the Icky Mettle-breakup to the working class fight songs of Vee Vee. Still, like all the tracks on this EP, it stands on its own.
“All Hail the Black Market” – The band’s disgust over leaches, hangers-on, liars, jerks, whatever are called out. This song is loaded with disgust like few have ever accomplished. It’s an interesting end to a pretty charged record, particularly right before their “protest” record.
The Speed of Cattle (Alias, 1996) – Few rarities, b-side compilations are this good or this jam-packed with as many great tracks as this one. Honestly, few of these collections are released during a band’s prime like this one. Plus, there are a few new versions of some of their best songs.
“Wrong”*
“South Carolina” – A sort of call to arms with their neighbors to the south, South Carolina was part of one of the band’s earliest singles. It was the B-side to Loaf’s “Wrong” single. I discovered the band through a rehashed version of this song on the My So-Called Life soundtrack, purchased for me as a joke. This song is no joke.
“Web In Front”*
“Bathroom” – Ah, a speed-metal track about really having to go to the bathroom while driving between stops. I know this feeling as I’ve always been the one to wait until I absolutely had to go. It seems the band is just taking a piss, so to speak.
“Tatyana” – This is a narrative about a domestic violence situation, possibly both Russian immigrants (Tatyana). It’s pretty graphic and suggests its anti-abuse and not condoning it. Besides, from what I know and have learned about the band, I feel pretty safe in saying the song is anti-domestic violence.
“What Did You Expect?” – Getting all tied up in a shitty situation? What did you expect? This one’s from a Merge release. Why they could never find their way onto that label will forever escape me.
“Ethel Merman” – Bachman seems to be identifying with Ethel Merman, a huge film star and incredible talent of her time. I suspect her death brought on a death to the golden era of entertainment. Johnny Franklin possibly refers to the actor in Children of the Corn. I suppose both refer to Bachman’s insecurities and inevitable downfall. Still, it’s got a nice hook. Archers of Loaf had the following to say about the whole thing, which actually makes way more sense than what I thought:
This song is about this guy in Tallahassee, Florida who apparently lost control one day and took a sledgehammer or some re-bar to the Florida state radio station. I have no idea what Ethel Merman has to do with anything. Perhaps we had an image of all these Ethel Merman recordings getting smashed and broken apart by some angry listener.
“Funnelhead” – An epic build leads to a Bachman holler. And what is a Funnelhead? Fuck. I don’t know. It’s late. He sees beyond black and white and catches all the shit or something. I’m not even sure what Bachman’s hollering through most of it. It is a beautiful, Afghan Whigs-ish anthem, somehow. What I do know is that it’s a Treepeople cover. That alone is pretty cool.
“Quinn Beast” – According to the liner notes, this one is about a woman who stepped in front of Bachman at a Shoney’s breakfast bar and took the last plate. She eventually figured it out and was not too happy.
“Telepathic Traffic” – Long intro…Sonically, this track would have fit nicely on Vee Vee. Crushing anxiety caused by traffic, all kinds of traffic: noise, light, cars, that line of ducklings following their mother across the street, etc. There’s just too much of it.
“Don’t Believe The Good News” -“There’s a dog on this track.” It’s the end of a long night of partying. The hangover is setting in long before you pass out on the bathroom floor. Things seem generally good, but all the depressants you just shoved down your throat help you see the truth that things actually suck right now.
“Smokin’ Pot In The Hot City” – Instrumental about, well, you know.
“Mutes In The Steeple” – There are a lot of shitty things in this world. We try to make the best of it, but we can’t ignore injustice and wrong. Ironically, this is often how we know that we’re alive.
“Revenge” – ^
“Bacteria” – Seven minutes of hate and disgust. You remember all the times that person was at his/her ugliest. This feeling fuels a move, a song, a feeling you can’t deny. Really, if you ever have to hate anyone for seven minutes (possibly including yourself), listen to this song and flail about. The dynamics of this song are so intense and just incredible. I’m just glad it saw the light of day despite the difficulty the band had finding space for it on a record.
“Freezing Point” – ^
“Powerwalker” – Let’s make fun of powerwalking. You know you’ve done it. This is your theme song.
“Backwash” -*
Vitus Tinnitus (Alias, 1997) – Ah, one of my prized 10″ records. Nothing too new or ground-breaking here, but it was a good find nonetheless. The first six tracks were recorded live and the last two were remixed. No explanations are needed.
“Harnessed In Slums” – **
“Underdogs Of Nipomo” -**
“Greatest Of All Time” -**
“Form and File” -***
“Audiowhore” -^
“Nostalgia” -**
“Vocal Shrapnel (Remix)” -***
“Scenic Pastures (Remix)” -***
Seconds Before the Accident (Alias, 2000) – This was exactly how Archers of Loaf sounded live. One can’t go wrong with this release (or the one mentioned above) when searching out live material. In fact, I’m pretty sure this was basically the same set they played when I saw them on the same tour. What a great, great live band Archers of Loaf were/are. I may have to write more about this set list or the one they recently played in Chapel Hill.
Dead Red Eyes -****
Fabricoh -**
Vocal Shrapnel -***
Web In Front -*
Let The Loser Melt -**
Strangled By The Stereo Wire -***
Fashion Bleeds -****
You And Me -*
Might -*
Revenge -^
South Carolina -^
Lowest Part Is Free -^
Plumb Line -*
Wrong -*
White Trash Heroes -****
Chumming The Oceans -***
Singles
Wrong/South Carolina (Stay Free, 1992) -*^
Web in Front/Bathroom/Tatyana (Alias, 1993) -*^
The Results After the Loafs Revenge: What Did You Expect/Ethel Merman (Merge, 1994) -^
Funnelhead/Quinnbeast split with Treepeople, (Sonic Bubblegum, 1994) -^
Harnessed in Slums/ Telepathic Traffic (Alias, 1995) -**^
Mutes in the Steeple/Smoking Pot in the Hot City (Esther, 1995) -^
Vocal Shrapnel/Density (Alias, 1996) -*** -I don’t think I wrote about this one. It’s available on this 7″ and the vinyl version of All Nations Airports, of which I actually have a picture disc. Anyway, it’s synth-heavy and sounds like an old TV show theme song. It fits nicely thematically-speaking with “Audiowhore” or “Telepathic” and some of the marching-like tracks on Vee Vee, but I’m not sure where it really fits in this oeuvre.
Jive Kata (Alias, 1997) -One of the most unique and oddest of the Loaf oevre, I always forget that this song exists. Hell, I forgot that I own this record. It’s so different from anything they ever did, but I remember appreciating how much it reminded me of Brainiac – another post for another time. There’s a hint as to what their final album would be like, but this track is even light years away from that. The b-side is a live version of “Slow Worm” from the same set that brought us Vitus.
As always, let me know where I’m right and where I missed the mark. I liked doing this. It was easier and quicker than my attempt at a Pavement oeuvre blog (which I may still salvage one of these days). Comments are welcome. Free beer and records are welcomerest.
*Icky Mettle
**Vee Vee
***All the Nations Airports
****White Trash Heroes
^See above.
Free Association Blog Post
I have some things in the works and some other things I wanted to mention, but none of that is ready nor does it interest me at the moment[1]. So, for your reading pleasure, I will do a little free association blog post that will hopefully hit on some of the things not quite worthy of their own blog posts.
Looking for a new way to label my homebrew, I designed and ordered the following rubber stamp.
The plan is to stamp some big mailing labels, write in which beer is in the bottle, and slap those mothers on. It will save me from having to print out extravagant labels at Kinkos while providing me a uniform way to mark my own brews. A good point was made regarding the new name of my fictitious brewery: It’s better than naming it “Watery Domestic,” a name I never considered. For those of you not in the know, Treble Kicker was Pavement’s made-up label for their first few singles. They later just put it on every release, sort of for publishing purposes or something. I’m using it as the ideal moniker to connect my two loves into my homebrews[2].
Speaking of homebrewing, I did this collaboration with a friend. He used leftover malt to brew a pale ale and I supplied leftover hops[3]. We split the beer to see what we each could do with dry-hopping. I had several mishaps with bottling, making me label the caps “FML” or fuck my life[4]. The first bottle was opened seven days in at a homebrew tasting last weekend. It was awful, but the veteran homebrewers in the room assured me that waiting it out might result in a better beer. Well, I opened one last night and it is getting better. Hopefully it will continue to improve.
I’m also hoping that the new Bright Eyes’ album will get better. It’s supposedly the last album to be released under “Bright Eyes” and that might be for good reason. Conor Oberst appears to be all out of ideas at the moment. When he did that pre-emo, cathartic thing he did in his late-teens/early-twenties, he was supposed to be the next Dylan[5]. Really, it was some good stuff. Then, he released maybe his best folk album alongside a semi-electronica record[6]. Okay. Then, after a live album and a rarities collection, he went down the alt.country[7] rabbit hole, seemingly never to return. This would have been acceptable as so many artists do the same. Plus, he typically aligned himself with some excellent musicians. Alas, alt.country Conor was not meant to be. He released the regrettable People’s Key last week. I’m holding off judgement to see if it will grow on me, but I’m not hopeful[8]. At least the artwork and design of the record sleeve is interesting.
Speaking of “interesting” album artwork, I finally unwrapped Tennis’ Cape Dory. This album is everything that Bright Eyes’ “effort” is not. It’s fresh, moving, interesting, enjoyable, etc. Of course, one has to get over the awful, awful artwork on the cover[9]. It’s low-fi with that echoey, Phil Spector-ish doo-wop feel and retro vocals[10]. It reminds me a ton of Camera Obscura if they recorded from bedrooms instead of studios. Still, this will be a nice record to enjoy as the weather turns.
And as the weather turns, March approaches. I try not to write too much about the sports-ball in these parts, but I have to address this at least one time before March Madness descends upon us. My boys at Ohio State are the best college basketball team in the nation[11] and early favorites to win it all in March/early-April. They are lead by a core of experienced players that seem to have played in Columbus for 15 years as well as three freshman stars. One of those freshman is Jared Sullinger whose ass[12] keeps defenders off as he puts up 18 and 10 on a nightly basis. Look for Ohio State to make a deep run this year in the tournament.
Something else happens in March…
The first weekend of March in these parts is dedicated to the True/False Film Festival. It’s our very own documentary film festival and it’s the best thing that happens here every year. We have reservations to see somewhere between 16 and 17 films[13] over the weekend (starting Thursday), plus a few parties and live music in between. There will be a full report here and possibly more somewhere else[14]. It’s going to be an incredible weekend this year. I can just feel it.
… feeling it, I feel as though I’m about to have my mind blown. I’ll be imbedded in said festival like never before[15], there are some interesting records coming my way, and there’s a ton of beer on the horizon. So, there will be a lot to discuss here. Come back, even if you noticed the lack of footnotes in previous posts. They’ll be back. Don’t worry[16]. Sorry for the filler. I’ll wrap up the Archers of Loaf oeuvre on Wednesday, plug in something interesting about either beer, indie rock, or both on Friday, an preview the film fest next week.
Notes:
1In other words, I have several barely-started posts sitting there in the dashboard and another dozen or so ideas I just don’t feel like posting. This three posts a week thing is getting tough. Still, dear reader, I feel you deserve better than filler. However, that’s what you’re getting.
2Plus, the design and name scream punk/lo-fi indie rock. There’s no way that there’s a better (fake) brewery out there, anywhere.
3Using leftovers should have been my first clue that the beer would be questionable, but we carried on the experiment anyway.
4I’m worried that there was too much oxygen pumped into the beer, which is not a good thing. Consider that there is a reason beer is sealed in kegs, firkins, casks, bottle, or cans and not just sitting out in the open. There could have also been some unwanted bacteria, but I hope not.
5This never made much sense to me. Dylan’s the superior songwriter; Oberst is the better performer, musician. Still, I hold Oberst in high regard as a songwriter. For me, they are two very, very different kinds of rock stars/folk singers. Any comparison is silly, even lazy.
6The songs were okay, but the musical direction was a mistake.
7I realize it is 2011, but I think I have a statement to make on alt.country in an upcoming blog post. Oberst’s turn to the cow punk is not surprising, nor is the demise of Bright Eyes. I will explain once I piece together an argument with examples.
8Honestly, I hate writing bad things about musicians I like. They work too hard at what they do to be ridiculed by a hack with a blog like myself. That said, I feel it disingenuous not to be honest. I just try to make it a practice not to go on and on about bands I like letting me down.
9Just look at it. It’s awful. AWFUL!
10Actually, everything about this release is retro. The cover looks like it’s out of the early 80’s. The music is 60’s pop and the aesthetic is 90’s lo-fi.
11Some would argue that this is not the case as they have dropped two of their last three games. However, both of those games were on the road to the 2nd and 3rd placed teams in the conference. This was the meat of the schedule where everyone knew they’d lose some games. All I know is the next four teams on the schedule better look out as Ohio State will be on a mission.
12It’s big.
13I suspect we’ll fall short of this goal. That’s a lot of documentary film to watch.
14I’ve taken on a project to help another local blogger get a Columbia blog thing going. I’ve written a post and am formulating the next. I only have to post twice a month, so that shouldn’t be too hard. There’s one in the can on The Foundry Field Recordings, another in the works on a seminal album by locals Bald Eagle, and another will happen covering the music of True/False. It should be interesting.
15There’s the Lux pass upgrade, my name on a guest list for an exclusive party, and a Twitter account that’s not mine. It’s not as exciting as it might sound, but it makes me feel like I’m on the inside of this thing.
16Man, I haven’t had sixteen footnotes in forever. This feels good!
The Archers of Loaf Oeuvre, part 2
The Archers of Loaf oeuvre continues. The interesting thing about Loaf is how much they changed stylistically and topically from album to album, but every record was unmistakably Loaf. The next album came out when I was entering my senior year of college and I played the shit out of it. Check it…
All the Nations Airports (Alias, 1996) This album makes even more sense in 2006 than it did in 1996. Talking heads, air traffic security, terrorism, cable news, etc. I think that’s why it feels so fresh for an album that’s nearly 15 years old. I have a picture LP of this one. This might be AoL’s most complete record from beginning to end. Aesthetically, it has a jangle the first two records didn’t contain. Plus, Bachman seems more inclined to sing a bit more than bark.
“Strangled by the Stereo Wire” – Although the cable news cycle and blogosphere were not the monsters they are today, there’s definitely a sense that Bachman knew what were in-store for when he penned this song. The constant feed of news, information, innuendo, opinion, punditry overwhelms and makes situations worse.
“All the Nations Airports” – This album was shaped around the flying and the airline industry from most of the imagery in the music to the design of the packaging. This track calls out this industry for all its inconsistencies and problems. Delays, terrorists, confusion, drunk pilots, slums surrounding airports, house of ill repute, tourists, and drunk pilots all make an appearance in order to demonstrate that which makes airports so despicable.
“Scenic Pastures” – Seeing someone off just to avoid the wretched inevitable. All we can do is stare out the window as we take off.
“Worst Defense” – Airport security was not the intrusion it is today. In fact, I remember it being sort of a joke when I traveled to and through airports in Europe about a year before 9/11. For some reason, American airports used to be so lax in security. That’s changed, but it was unnervingly insecure in the mid-nineties.
“Attack of the Killer Bees” – “Worst Defense” leads almost perfectly into “Attack,” marking yet another flawless transition on an Archers of Loaf album. Killer bees were a big deal in those days. Everybody was worried that they were going to make their way up north and kill us all. The track is an instrumental and works as yet another great transition into the next track.
“Rental Sting” – This makes me think of the bored attendant at the airport rental service. You know, the dude in the jumpsuit who delivers your cars and fills up the gas tanks. Whatever the customer says goes. It’s a waste of life. Why can’t he get is own fucking car?
“Assassination on X-Mas Eve” – This track has made it on nearly every Xmas comp I’ve given away. The unease over the imminent destruction of our innocence in the form of an institution continues. However, instead of the dangers and inadequacies of our airline system, Santa Clause is assassinated. This album was released a good five years before 9/11, but one can easily make connections and parallels. Plus, the song reads like a news report which tries to sensationalize the incompetence that allowed such a tragedy to happen.
“Chumming the Ocean” – The band breaks from convention this time as Bachman sings solo with only a crummy piano to accompany him. Chumming the ocean is when bloody fish pieces are thrown in the water to attract sharks. The diver goes down only to suffer a terrible fate. Along with the dissolution of our culture at the hands of sharks, a hungry media, whoever wishes to feed on humankind. They smell the blood and they go in for the kill.
“Vocal Shrapnel” – The leaches that are the media or whomever seeks to gain from tragedy are back. And if you don’t keep up, you’ll be crushed along with their intended targets. The vocal shrapnel is the vitriol and sensationalism spewed from pundits and talking heads. Once again, this album does an excellent job of foreshadowing the next decade/century.
“Bones of Her Hands” – By far the most jangly song in the Loaf oeuvre, but it’s a fast jingle. I can’t decide whether it’s about modeling or shifty book-keeping.
“Bumpo” – This track reminds me of Bachman’s solo project, Barry Black. Natty Bumpo was a James Fenimore Cooper character who worked as a scout in the 18th century. A white-skinned but raised by Indians, Natty Bumpo did what he could to find peace between warring tribes. I suspect he was a badass and this is his theme.
“Form and File” – Regardless of the imagery I try to attach to this album, it’s certainly also a road record. This track features a recreated phone message a drunken Eric Bachman sent to management concerning some rough times while on tour in Europe. Things are tough and he talks about breaking up. The chorus laughs the whole thing off.
“Acromegaly” – I once wrote heartbroken lyrics to this instrumental after a terrible breakup. I don’t know where they are, but I do know that my song had nothing to do with acromegaly. Acromegaly is basically the syndrome that causes gigantism.
“Distance Comes in Droves” – There’s that moment when you fly that you realize you’re a long way from your origin and your destination at the same time. It’s isolating, but one should relish in this time and consider what awaits or what one’s left behind.
“Bombs Away” – This instrumental is a companion piece to “Chumming…” One can imagine a slow-motion, silent film-like scene featuring World War I era bombers completing a mission while crashing to his doom at the same time.
“Density” – You won’t find this track anywhere on the mp3 or CD versions of the album. I have the vinyl, but not the time to pull it out at the moment. I might update this one once I get a listen in. I owned the CD version for so long that I barely know this track.
White Trash Heroes (Alias, 1998) – The band’s final full-length signaled a marked change in the band’s approach to writing and recording. The album is slicker and much more challenging. Still, it’s unmistakable Loaf. It turned off a lot of die-hard fans and possibly turned the band off. Still, there’s good stuff on this record. It’s certainly worth a spot next to the others even if it won’t be your favorite. This is their “Chapel Hill album.” The band was growing older and their time in Chapel Hill undoubtedly has had a lasting impression on their lives. This particular snapshot finds the band growing older and wiser in regards to their perspective of living in a college town.
“Fashion Bleeds” – Have you ever been downtown in a college town on weekend nights? Shit sucks. A bunch of morons dressed the same, looking to date-rape the girl who wearsno sleeves, coat, and heels lower than two inches in the dead of winter. The same goes for any “revitalized downtown “district” of one sort or the other. Individuality is lost as one douche tries to out-Jersey Shore the next. In the meantime, anything of any real interest – like say a good band playing music these dolts have never heard before – is ridiculed. I suspect this was penned as the band’s little college town changed and they just aged. Of course, the way I remember Loaf, they never fit in that scene anyway.
“Dead Red Eyes” – Continuing down this path, ever have that moment when you feel too old. You’re probably a little fucked up and all you can think is that you’re too old for this shit. You’ve now officially wasted your youth and/or it’s passed you by.
“I.N.S.” – None of the lyrics websites have lyrics for this song. That tells you something about the aesthetic. It’s a driving mid-tempo, distorted track with unintelligible vocals. Maybe it’s about immigration. I don’t know.
“Perfect Time” – It’s hard to watch a friend self-destruct. Drugs, mental illness, bad luck, whatever sends them down a path from which they might not return causes us to panic and step in. It’s a real gut-check for a friendship.
“Slick Tricks and Bright Lights” – With advancing age comes more opportunity for folks to screw you legally or financially. Bad landlords, credit companies, the law, you name it; they’ve got it in for you. It grows tiresome. A band like Archers of Loaf probably dealt with this in the form of shady booking agents and even shadier A&R guys.
“One Slight Wrong Move” – This song is one of the few that thematically takes me back to Vee Vee-era politics. People struggle to make ends meet, yet they are judged by their state in life. The poor and working poor are not lazy. The abused and oppressed didn’t ask for it. The idea that people are solely responsible for their state in life just makes us feel better for our own privilege. The masses and group think should not judge the disenfranchised.
“Banging on a Dead Drum” – Here’s another track where the lyrics are virtually indecipherable. I don’t know whether this was intentional or a case of the band over-thinking it. Interestingly, there were several songs Loaf never learned for the tour supporting White Trash Heros. I suspect this was one of those tracks ignored on set lists. Still, we need more cow bell!
“Smokers in Love” – Loaf was a pretty good band at coming up with interesting and transitional instrumentals. This one in particularly reminds me a ton of Bachman’s side-project, Barry Black. The title makes me think of his Crooked Fingers material.
“After the Last Laugh” – To me, this is a Crooked Fingers track all the way. Drunken and dirty, the song paints a boozy picture of the shadows on the other side of the tracks. It ends with an old beer hall sing along: “After the last laugh has swollen and shut/When all that’s left are the true beer hall drunks.”
“White Trash Heroes” – It’s interesting that the last song in Archers of Loaf’s oeuvre is a synth-heavy drone instead of an all-out rocker. The vocals, themes, and lyrics remind me of Crooked Fingers again. Still, it’s maybe the strongest track of the album. Something strange happened in the south of the past decade and a half. People with money and industry moved south, changing the culture forever. The South is no longer as laid back as it once was. I suspect Chapel Hill was not immune from this transformation. The band’s choice to end with this track was a bittersweet yet perfect ending.
Don’t worry. There’s more. In my final installment, I’ll cover the singles, EP’s, compilation, and live album.
What do you think? Is this what you hear in A0L’s music? Does this make you want to listen to them? Thoughts and comments are always welcome.
Opinions are like…
…blogs. Everyone has one. Right?
The thing I love about music is that two people of basically the same intellect and even similar tastes can have completely different opinions about a band or album. I suppose that goes for any kind of art or media, but people don’t talk about paintings or sitcoms the way they talk about music. It can get heated, almost to the point of exchanged blows, but we can somehow forget everything once a song comes on we agree upon.
The other day, someone posted somewhere that Radiohead was set to release an album. Since I haven’t enjoyed much of anything Radiohead’s produced in the last decade, my reaction was “meh.” So, I posted the provocative question: Is Radiohead still relevant? Some said no; others said yes. But a few others got sort of pissed about it. The funny thing is that I see eye-to-eye with a lot of people on either side of this Radiohead split.
You’d think that the polarization of Radiohead would mean that we don’t agree on any kind of music and hate each other’s guts. Well, nothing could be further from the truth. There’s something that can be said about a thing like music that can simultaneously divide and bring together. I think it’s why I like to talk music more than almost anything else.
Honestly, I don’t really care if people feel the same way about Radiohead as I do. They apparently are relevant as many people still go apeshit with every new release. Just because they’re not relevant to me doesn’t mean they’re not relevant at all.
To further my point, in case you hadn’t heard, Arcade Fire won the Grammy for album of the year. This is being seen in several ways. First, there are the opinions I’ll ignore. Those are the ones who dismiss The Suburbs because they have no idea what it is and the others who actually think Eminem was robbed. The other two camps see things a bit differently. Some are proclaiming this to be indie rock’s big breakthrough, while others see it as proof of The Suburbs inherent faults.
For those who celebrate this achievement, they realize that Arcade Fire is doing things no other indie has ever done. They are competing with the big boys of rock music from not-exactly-rock-mecca of Montreal and the tiny indie label Merge. Granted, Merge has been around for a while, but it’s not a huge label that has loads of money. They have a unique deal with artists that allows the artists more say and more pay. No major would operate the way Merge does. Of course, no major label puts out as much good music as Merge does. Funny thing is, Merge’s decidedly artist-centric approach has helped them outlast many majors. The Suburbs are the culmination of that work and all of indie rock should relish in the achievement.
My brother said something about how he never thought he’d see anything like that in his lifetime. The Grammys are shill for the industry or at least its corporate overlords. So, it’s unthinkable that a band on an indie could ever win one a Grammy, and not just any Grammy, Arcade Fire won album of the year. That’s the Grammy.
However, some would point to the fact that the Grammys themselves haven’t been relevant for…well…ever. Grammys have generally missed the mark every time. Even this Arcade Fire album is not the band’s best. Had the Grammys really been cutting edge, they would have given best album to Arcade Fire for Funeral. The Grammy foundation or committee or whatever they are really don’t understand much of the music they honor. So, is it really a big deal that Arcade Fire won?
Well, of course it is a big deal. It’s just not a big deal to everyone.
I remember when Beck beat out Springsteen and Sting for best male performance for his now-classic Odelay. Although Beck wasn’t on an indie (at least not for this release), it was an amazing upset to unseat two of the biggest names in music. It was a moment when alternative music (indie rock with loads of cash) was the equivalent of the typical corporate junk that dominated the Grammys year after year, category after category. Maybe you liked One Foot in the Grave better, but Odelay winning that award was a big deal for non-mainstream music.
The point is that Radiohead and Arcade Fire are worthy bands. They’re both relevant. It’s cool that I write about Pavement or Archers of Loaf so much. We think about and care for the music and that’s what matters. Granted, I’m biased toward a certain kind of music, but I’ll listen if you want to talk about why you love Lady GaGa or Phish or whatever. I can appreciate your fondness for a band or musician. I just might not agree and there’s room for that in this space.
Sorry, I’m rambling away from the message.
What I know that we can all agree upon is that music is one of those things in life we can all agree to disagree. And that’s great. Maybe you never grew out of Radiohead. Don’t worry. I never grew out of Pavement. I loved The Suburbs. You haven’t like anything they’ve done since Funeral. All of that is cool. There are as many ways to look at music as there are people or at least blogs.
(Speaking of obsessing over a band no one really likes, my series on the Archers of Loaf oeuvre will continue Friday.)
The Archers of Loaf Oeuvre, part 1
I recognize that I’ve been writing a lot about Archers of Loaf lately. With their impending reunion tour coming, I’ve been listening to a ton of their records. It’s got me thinking that their entire oeuvre deserves a look, maybe not like this, but a look nonetheless. Here’s the first in a two (or three) part series. I’ll attempt to write briefly about each song in the oeuvre. These are not “official” interpretations. They are mine and mine alone. If you are familiar, feel free to give your two cents in the comments. If not, comment anyway.
For today’s post, I only made it through the first two full-length albums, but I’ll add to that in the coming post(s). So, here it goes…
Albums
Icky Mettle (Alias, 1993) – This is the nasty breakup record of the oeuvre. There’s a theme of some pretty hateful ideas throughout. Despite this, it’s not an overly sexist album. Frontman Eric Bachman is just really pissed at the deceit he’s suffered at the hands of an ex-girlfriend.
“Web in Front” – This was the hit. It sort of sets up the entire first record with relational failure. He wanted it to work, but it couldn’t. I suspect the relationship ended quickly. It’s cool at this point, but he gets pissed as the record moves on.
“Last Word” – More clarity is coming to the breakup and it’s starting to piss him off. He accepts his part, but something tells me the other party is making it worse.
“Wrong” – Now he’s pissed. He’s telling her to get away from him and to basically leave him alone. The relationship has gone from “oh well, that’s over” to “man, she was starting to irk me” to “leave me alone already.”
“You and Me” – He’s exasperated at this point. She’s still looking for answers as to why it ended and he points to how they just weren’t that happy.
“Might” – The most perfect transition ever recorded happens here as “You and Me” ends and “Might” begins. The band doesn’t miss a beat as one song ends and the next begins at the same moment. The first time I saw Loaf, I remember them pulling this off live and I could see every indie nerd in the crowd mouth “just like on the album.” Things get meta at this point in the record. He’s suffered this heartache and now sits to write songs about it, but there’s loads of self-doubt – something that exists throughout the record – and he’s not sure it’s worth his time.
“Hate Paste” – Now he’s just spewing pure hate. He’s really letting her have it. This track is one of the most angry of the oeuvre and it comes right in the middle of maybe the most angry breakup album ever.
“Fat” – I imagine this as the morning after song after some post-breakup sex. He wakes to find her exposed and not looking as good as he used to think. The best thing to do (in his mind) is to say the meanest thing he can think of just to break it off for good this time.
“Plumb Line” – Again, clarity comes and he sees the relationship for the failed experiment it was. He sees her for the shallow “indie rocker” she is. Interestingly, I remember this as a key point in the use of the word “indie.” I’m sure it wasn’t the first time the terms was ever used, far from it. However, this was the first and only time I remember it being used in a song. That and it entered my lexicon from this point forward.
“Learo, You’re a Hole” – I suspect “Learo” is a nickname for the ex. He’s pretty pissed. The saga continues.
“Sick File” – This is the long way to tell someone to shut-up.
“Toast” – Where Pixies mastered the quiet-loud dynamic, Archers of Loaf were all about the slow build and fade. More on this later. If this album were a narrative, I would imagine that this takes place in the future after a reunion, but I suspect it’s about that moment when one looks back on the relationship and is able to pinpoint that exact moment it all went down the crapper. It usually starts with something simple and mundane as burnt toast, but sometimes that’s all it takes when there’s something wrong.
“Backwash” – Another song about shutting-up, this time there’s the added “I won’t listen to anything you have to say.”
“Slow Worm” – The lingering stench of breaking up is getting old. It’s time to move on, but this is the rock bottom before recovery is complete. He’s faking it like he’s moved on, but he can’t stop talking (or singing) about the break-up that inspired an entire record.
Vee Vee (Alias, 1995)
“Step into the Light” – As mentioned above, Loaf perfected the slow build and fade. This song is just one giant build into the next. I’m pretty certain they opened with this the first time I saw them. One gets the sense from the start that there’s some musicianship going on in Archers of Loaf beyond the pure intensity of the band’s early releases. Interestingly, it’s this moment when Loaf step away from the anger and depression of Icky Mettle and into the “light” of Vee Vee, stylistically and emotionally.
“Harnessed in Slums” – Ironically, the band breaks off that slow build with one of their angriest songs. Literally and figuratively, the band steps into the light sees the world through a fresh perspective. This is where Archers of Loaf’s blue-collar, almost Socialist image is sculpted. It’s a call to arms for the poor and disenfranchised to rise up and put a stop to this wasteful, superficial lie capitalism is selling us. The song would play well with the protests in Egypt as imagery.
“Nevermind the Enemy” – The enemy are those who are greedy, disciples of capitalism. The class warfare continues.
“Greatest of All Time” – Taking a step back from the political, Loaf approaches the alternative music scene of the early/mid-nineties. The unknown band is squashed while the rock star is worshipped like a god. At the time, I imagined Archers of Loaf as playing the part of “the world’s worst rock ‘n roll band” and REM as the “greatest band of all time.” The song probably wasn’t meant to be that literal, but these roles helped me paint the picture in my head. At the time, REM were a pretty big band (still are) and Michael Stipe’s ego appeared to be even larger. Loaf, on the other hand, were possibly in the midst of being courted by record labels as almost any decent indie rock band of the time was. Despite the relative success of “Web in Front,” that (monetary) success never happened. I suspect they weren’t squeaky clean enough as popular music was moving away from grunge and toward something, well, poppier.
“Underdogs of Nipomo” – After Vee Vee was released, Archers of Loaf were courted by Maverick Records. This song demonstrates their disdain for certain major labels and possibly even the Southern Cal ethos. It’s another example of why their songs have a blue collar feel. There’s a guy, possible a fan to see the band in Nipomo, CA. He’s jumping on this bandwagon, but Loaf want him to get off. It’s also the only example I can think of where the term “microbrew” is used in a song.
“Floating Friends” – Friends floating away suggests that people, in some cases bands, moving on to better-paying gigs, fancier cities/newer suburbs, and basically selling out. Loaf hailed from Chapel Hill. Kids with new degrees often go the sell-out route. Loaf stayed around, stayed on their indie label, and continued to do things on their own terms.
“1985” – Filler that leads perfectly into…
“Fabricoh” – Another blue-collar, class warfare anthem picks up here. A running theme throughout AoL’s oeuvre is the calling out the latest trends for the superficial luxuries they are.
“Nostalgia” – Aesthetically, I always thought of this track as the band’s tribute to Black Flag. Thematically and topically, it’s more of a tribute to Marlon Brandon in The Wild One. It’s a fond nostalgia for a time when rebels wore black leather, rode motorcycles, and fought authority to the end.
“Let the Loser Melt” – The indie rock scene is a regular topic throughout AoL’s material. This one’s about all the hype and excitement around indie rock is often dashed as soon as a band signs and releases an album with a mojor label. Despite recording superior music, they don’t achieve the promised sales, relegating them to flop status.
“Death in the Park” – Despite some pretty literal imagery, this track is one of the more ambiguous on the record. Still, it seems to be about “the same people pissing the same people off.” In other words, it’s always the right versus the left, one religion insulting another, or a racial slur leading to a hate crime. All that’s needed is some empathy now and again.
“The Worst Has Yet to Come” – You sold out. I didn’t. I have freedom to fail. You don’t. You have capital for luxuries. Me, not so much.
“Underachievers March and Fight Song” – Frontman Eric Bachman dropped out of his music education college program because he didn’t want to become a high school band director. The first sign of this marching band background comes through this track in the form of a warble-y trumpet march. Again, the topic of independent music comes up. The underachievers are supposedly the bands in the underground who have yet to compromise their principals for a big paycheck.
Next up: All the Nations Airports and more…
Beer and Pavement 
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