I have it too good. Most of the bands I want to see live play small venues and allow me to get up close to the stage. When I go to shows at places like The Fillmore or the Greek, its a struggle to even get within 50 feet. Luckily I've already had my U2 concert experience and don't need to worry about which section of the stadium my seats are in until Ted Leo starts playing MSG.
Despite the distance, the Wolf Parade / Frog Eyes show was rather good. It's a natural pairing with keyboardist Spencer Krug in both bands. In case you haven't heard Frog Eyes before, you need to know that the music is weird. It's not experimental, but they ride the razor's edge between experimental and pop music. There isn't much variety between songs, so if you like one, you'll probably like them all, and likewise, if you hate one, you'll hate them all. Sort of like Julia Roberts movies. I like Frog Eyes (and the Destroyer / Frog Eyes collaboration that produced Notorious Lightning and Other Works is truly amazing), so I had a good time watching their enthusiasm spill out onto guitar strings and piano keys.
Another issue with bigger places is that when you're in a large group and people leave your hard-earned spot in the crowd for a drink or smoke, it's nearly impossible for them to get back. So despite being at the show with Ben, Enrico, Jeni, Andrea, Sam, Bethany, and Kristen, and watching Frog Eyes with Julia and Mike, I ended up watching Wolf Parade surrounded only by the coke fiend girls on my right, the bushy-haired tall duo directly in front of me, and the girls who mistook Frog Eyes for Wolf Parade on my left.
Wolf Parade played some new stuff during the set, and it sounded fine, but nothing sounded as good as their older material. I'm confident they'll be putting out great music for a while since they're all amazing musicians and Krug has proven himself with both Frog Eyes and Sunset Rubdown. The interesting thing about the show was that these guys played almost too well. The You Are A Runner / Fancy Claps sequence in the middle of the set was so good and polished, it was almost U2-esque. Coming full circle, I believe if I would have been assigned to row 54 in section KK, I still would have been rocked. I doubt Wolf Parade will ever have that sort of following, but if they do get to Radiohead status, don't fret about the live show.
Frog Eyes - The Oscillator's Hum
Wolf Parade - You Are A Runner
Wolf Parade - Shine A Light
26 August 2006
25 August 2006
The Mountain Goats - Amoeba Music - 8/22/06
On the same day as the record release of his new album, Get Lonely, John Darnielle passed through town for a free show. The simple setup, just him and a guitar, made all the songs sound more like his old recordings, before his switch to 4AD records.
I personally prefer the stripped, lo-fi, early recordings to the new, polished ones. But both are great, and The Mountain Goats are easily my number one listened-to band, according to last.fm. So take the rest of this post with the same amount of salt you'd take if I were reviewing Dennis Kucinich for President.
I went to the show alone, but Mike, Karin, Evan, and Amber were there and somehow spotted me in the crowd. A phone call later and I was within 20 feet of the stage.
I think the most praised aspect of The Mountain Goats is the literary song writing. It certainly isn't the production value or honey dew singing. And although the tunes are subtly complicated (if that makes any sense... they're complicated, but you might not notice all of the references or that little key change right away), I always thought the best aspect of The Mountain Goats was the passion and truth behind the words. Years ago, I might have called it emo. But it is distinct. Much like Destroyer or the Decemberists, The Mountain Goats make stories with musical accompaniment.
In the middle of No, I Can't, which is essentially a list of things given to a man by an ex-lover, you really understand the meaning behind the words when he yells Thanks for the filing cabinet / I don't know what I did without it. And this came through incredibly well in the live show. When John stopped playing guitar for a few measures in the middle of a song and just let his strained, somewhat sour voice carry through the record store, you understand the (perceived) importance of the words.
The set was predictably short. And for an artist with several hundred songs, it was painfully short. Most of the set was off the new album, which isn't what the die-hards beg for. But I can't really complain. It's like asking for the Canterbury Tales to shoot up to the top of the best-sellers' list.
Some older tracks. He played Goldenboy at the show.
The Mountain Goats - Cubs In Five
The Mountain Goats - Goldenboy
I personally prefer the stripped, lo-fi, early recordings to the new, polished ones. But both are great, and The Mountain Goats are easily my number one listened-to band, according to last.fm. So take the rest of this post with the same amount of salt you'd take if I were reviewing Dennis Kucinich for President.
I went to the show alone, but Mike, Karin, Evan, and Amber were there and somehow spotted me in the crowd. A phone call later and I was within 20 feet of the stage.
I think the most praised aspect of The Mountain Goats is the literary song writing. It certainly isn't the production value or honey dew singing. And although the tunes are subtly complicated (if that makes any sense... they're complicated, but you might not notice all of the references or that little key change right away), I always thought the best aspect of The Mountain Goats was the passion and truth behind the words. Years ago, I might have called it emo. But it is distinct. Much like Destroyer or the Decemberists, The Mountain Goats make stories with musical accompaniment.
In the middle of No, I Can't, which is essentially a list of things given to a man by an ex-lover, you really understand the meaning behind the words when he yells Thanks for the filing cabinet / I don't know what I did without it. And this came through incredibly well in the live show. When John stopped playing guitar for a few measures in the middle of a song and just let his strained, somewhat sour voice carry through the record store, you understand the (perceived) importance of the words.
The set was predictably short. And for an artist with several hundred songs, it was painfully short. Most of the set was off the new album, which isn't what the die-hards beg for. But I can't really complain. It's like asking for the Canterbury Tales to shoot up to the top of the best-sellers' list.
Some older tracks. He played Goldenboy at the show.
The Mountain Goats - Cubs In Five
The Mountain Goats - Goldenboy
04 August 2006
Margot and the Nuclear So and Sos - Popscene - 8/3/06
Why is the percussionist (not to be confused with the drummer) always the most interesting person in the band to watch? My current theory is that as children these were the kids that constantly goofing off in class to get the teacher's attention. And now they get to bang on loud things to get attention.
Anyway, Annie, Thea, and I went to Popscene to catch Margot and the Nuclear So and Sos (which may be the worst band name by a good band ever). Popscene is the place in San Francisco to show off your leg warmers and bullet belt. It's also the place to go if you're indie and under 21. It's gotten to the point where I feel pretty old going there. How long do I have before I feel old at bars?
As far as the music, MatNSaS (which should be pronounced "mat-an-sass") played a relatively long set for Popscene. They have a very full sound, which one might expect with eight members. The overlapping male and female vocals add even more depth. Most of their songs are pretty mellow, which is nice, but the venue is really best for bands that bring the rock (Hot Hot Heat killed there). But a couple of the songs swapped acoustic for electric guitar and really kicked things into gear. Those were the songs that made me think this was a good show. With only the slower stuff, I'd forget about this show in a couple of months.
Maybe I'm just in the mood for a band that can get me jumping and dancing. Wolf Parade is in a couple of weeks and that should be the fix I desire.
Here is a pretty good video of one of their rockin' songs.
Anyway, Annie, Thea, and I went to Popscene to catch Margot and the Nuclear So and Sos (which may be the worst band name by a good band ever). Popscene is the place in San Francisco to show off your leg warmers and bullet belt. It's also the place to go if you're indie and under 21. It's gotten to the point where I feel pretty old going there. How long do I have before I feel old at bars?
As far as the music, MatNSaS (which should be pronounced "mat-an-sass") played a relatively long set for Popscene. They have a very full sound, which one might expect with eight members. The overlapping male and female vocals add even more depth. Most of their songs are pretty mellow, which is nice, but the venue is really best for bands that bring the rock (Hot Hot Heat killed there). But a couple of the songs swapped acoustic for electric guitar and really kicked things into gear. Those were the songs that made me think this was a good show. With only the slower stuff, I'd forget about this show in a couple of months.
Maybe I'm just in the mood for a band that can get me jumping and dancing. Wolf Parade is in a couple of weeks and that should be the fix I desire.
Here is a pretty good video of one of their rockin' songs.
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