Thursday, August 23, 2007

Deerhunter don’t want to hurt you


Indie’s most controversial new heroes only want to have some fun

When it comes to the Atlanta band Deerhunter, there’s precious little sentiment left to express, positive or negative, that hasn’t already been heaped on their narrow little shoulders. Christened by fans and critics alike as one of the most important new acts in years, Deerhunter is just as passionately derided as a shock-fueled sham, with sheep-like hipsters on their team only because it’s the cool thing to do.

A listen to their most recent releases, including full-length “Cryptograms” and the “Fluorescent Grey” EP would bear out the band’s champions. Dense, sprawling, and overrun with more ideas than many band’s come up with their entire careers, both discs are loaded with raw, visceral songs that work double-time to maintain an equal balance of chaos and beauty.

But it’s the band’s live shows that have made them the talk of the American indie scene. When I caught them open up for the Ponys at a packed Echo club earlier this year, I saw something I hadn’t seen in a very long time: an audience genuinely shocked by what they were seeing.

When they took the stage, Deerhunter’s imposing frontman Bradford Cox appeared wearing a flowered housedress and a massive, spidery black wig that looked like an exaggerated take on Patti Smith’s haircut from the cover of “Horses.” The music was nothing short of a maelstrom; a whipping whirlwind of layered drones and Cox’s reverberated incantations. The Patti Smith wig seemed apt, as I could easily imagine this band playing a set between her and say, Television at CBGB’s in 1977.

With Deerhunter headlining this year’s most impressive Fuck Yeah Fest line-up, it was imperative that I get with Mr. Cox for the truth behind one of the year’s most provocative contenders.

The most recent news out of the Deerhunter camp is the story of you and guitarist Lockett Pundt getting robbed at gunpoint outside of a show at Atlanta club Lenny’s. Is it that bad of an area, or were you guys just in the wrong place at the wrong time?
It was wrong place, wrong time. It is a bad part of Atlanta, but the club Lenny’s itself is not unsafe, and ever since the robbery they’ve had cops patrolling every single night. I don’t blame the club. The show was sold out, and we had to park far away.

Does Deerhunter stand out in the Atlanta music scene, or do you have other kindred spirit bands to run around with?

We run around with the Black Lips, make out with them and stuff.

Your live shows have become quite notorious. What’s your inspiration to get onstage every night?
Someone like Patti Smith. A lot of times it’s just personal stuff that I dredge up. It’s like when I go bowling with Lockett, which we do every Sunday night. Before we bowl, I’ll think of something that really hurts my feelings. It gets me all emotional, and I’ll usually throw a strike.

It’s funny that you mention Patti Smith. When I saw you at the Echo, the wig you had on reminded me of her.

That wig was my Patti Smith homage. I’ve stopped wearing the dresses and wigs, though. I want to see if people are still interested in seeing me perform just as myself.

What inspired you to wear the dresses and wigs in the first place?

It was just fun. I’ve always worn dresses, ever since I was a little boy. I just like how tall, awkward boys look in dresses. Plus one of my best friends Kristen and I would go shopping for the dresses, and it was just a fun thing to do with her. It wasn’t about shocking people or anything.

What surprised me was just how shocked that Echo audience was by your show
It’s really funny how easy it is to shock people. I think it’s overestimated how much joy I get from it, though. It’s not my life’s work to be a freak, you know?

That must be a powerful feeling though
It can be. I’m usually thinking too much about myself to notice. I mean that in a self-critical sense. I’m so absorbed in my own mental drama to see the crowd. I love the audience, and I love meeting them afterwards. I even like the people that hate us. They help make it fun, too.

I hear from lots of your fans that it took them awhile to “get” your music. Do you feel like Deerhunter is difficult?

I think it’s easy to not get us. I don’t try to make it that way. People think we’re going for one thing, when actually we’re going for something else. Plus what I’m going for changes all the time. We’re an ADD-type band, with so much happening at once. I can understand why people can have a hard time with it. People like things that are easier to digest.

How would you characterize Deerhunter’s sound?
I think it’s pop music.

What is it that you’re going for that you feel people are missing?
The pop element. The friendliness and fun of it. We’re not trying to be pretentious rock star dickheads. We’re just awkward kids. I’m not shy, but the other guys are. But they’re cute, and I’m kind of not, so it’s weird. If the cuties weren’t so shy, we’d be mega-taking shit over. I’m totally just kidding, by the way. It kind of keeps us in check.

It does sound like you’re getting into prettier, more melodic music
We’re doing more covers, and I’ve started to do DJ mixes, just to show people better where we’re coming from.

What do you play when you DJ?
The Everly Brothers, old doo-wop records. It gives people more of an idea of…

Yes?
Oh, sorry. I’m playing online poker while I talk to you.

Are you good at it?
Oh, yeah. I just made bank a few minutes ago.

Do you win real money?
I have before, but I had to stop because I had an addiction. I get addicted to things really easily. You win a few times, and it’s hard to stop.

Are you a big internet person?
Yeah, I am now, ever since Deerhunter became my full-time job. After the first big tour behind “Cryptograms,” my job was like “We love you to death, but it’s time that you move on.” I just wasn’t around enough. I worked at a graphic design firm. I’m a designer. I’m really proud of the packaging (of “Cryptograms”). It was done with my friend Susan Archie. I just did all of the art for the Atlas Sound record (Cox’s solo side project). It should come out early next year. I’ve put together a band and we’re going to tour behind it.

I was just going to ask you about Atlas Sound. How did that come about, and how is it different than Deerhunter?
Atlas Sound has been going on forever. I love Deerhunter. It’s my pride and joy, and it pays my rent. But like, I have a different way of approaching bass lines or beats or whatever, so with Atlas Sound I get to do more of a hybrid, with ambient electronics next to some 1960s garage pop. It’s an opportunity for me to be more schizophrenic in my songwriting, and to have fun with recording techniques.

What are your impressions of L.A.?
I love Los Angeles. I’ve been out there a lot lately, working on a project with a friend.

Is it something you can talk about?
Not really. I can say that I’ve been helping my friend out on a film score, but that’s all I can say.

How would you characterize the typical Deerhunter fan?
It goes without saying, awesome people! Awesome, sweet kids looking for something that a little scarier than someone like the Arcade Fire.

I’d never heard of Marfan Syndrome (characterized by elongated limbs and cardiovascular issues), which you were diagnosed with as a child. Is it rare?

It’s not rare at all. Lots of people have it. I have it pretty severely, though.

Is it something you deal with on your own, or do you talk to other people that have it?
Since it’s come out that I have it, lots of fans have come up to tell me that they found out they had it because of me. This one kid emailed me to say that after reading about me, both he and his dad got tested and they both had it. So that kind of thing has been pretty gratifying. Joey Ramone had it, too.

Is it difficult to live with?
It hurts your self-esteem. I look pretty ugly because of it. There are heart issues, too. I don’t feel sorry for myself.

There have got to be plenty of people that find you attractive
I’ve never met them. Maybe someday, you know? There are people attracted to the conceptual me, the character. But the way I am onstage is not how I am in real life. I’m definitely not a sociopath sitting around my house in a dress jerking off to child porn.

Monday, July 23, 2007

Close Encounters of the Disco Kind


The Daft Punk show at the Los Angeles Sports Arena on 7/21/07 was quite possibly the greatest concert event of my life. For once, words fail me. Kind of like everything awesome you could possibly think of all happening at once? All hail the kings of robot disco. Simply amazing...

Wednesday, June 27, 2007

The Polyphonic Spree, The Fragile Army (Warner Bros.)


Texas big love cult is still guided by voices
Up to 27 members strong, the sprawling collective known as the Polyphonic Spree has blazed a singular path through the recent musical landscape. Emerging from the ashes of Tripping Daisy in Dallas, Texas, the band was formed by singer/conceptualist Tim DeLaughter and his wife, Julie Doyle. Outfitted in matching robes, the large symphonic sound produced by so many people on stage (including a 10-person choir) turned them into concert favorites, attracting hordes of fans to their "Up With People" perspective. But the band's unorthodoxy has also been a hindrance, from the impracticality of touring to accusations of contrivance.

For their third full-length release, DeLaughter and company face the reality of the modern world with their brightly-colored robes replaced by matching black uniforms emblazoned with hearts and crosses. The Fragile Army finds the Polyphonic Spree still preaching the power of the positive ("Running Away"), set to grand, orchestral productions that recall the Fifth Dimension if they'd been produced by Electric Light Orchestra's Jeff Lynne. They pull out a few new tricks, like the clunky disco of "Mental Cabaret," which plays like the Go! Team covering the Brady Bunch's "Sunshine Day."

At times reminiscent of an even more zealous Flaming Lips (thanks to DeLaughter's yelping voice and vocal inflections similar to the Lips' Wayne Coyne), grandiose productions like "Guaranteed Nitelite" bring the album to an emotional peak before down-shifting into the minimal electro swing of "Light To Follow." It gets even more interesting with the urgent piano crescendos of "Watch Us Explode (Justify)," and the Bowie-esque emoting of "Overblow Your Nest."

Ending the album on the galloping exuberance of "The Championship" keeps the Polyphonic Spree's M.O. intact: Big productions, big ideas, big sounds, and big big love.

Friday, June 22, 2007

Subject: Georgia, First Day of Summer, 2007, Los Angeles, CA

"This is the most fun I've ever had in a museum. It's even better than the time I fell asleep in the Louvre."

Subject: Jack White, The Last Day of Spring, 2007, Los Angeles, CA

"Let's hear it for non-disposable music."

Tuesday, June 19, 2007

White Stripes, Icky Thump (Warner Bros.)

5-star effort reinvents classic rock with an eye on the masses
Over five albums, Detroit duo the White Stripes have maintained a doggedly traditional stance, mining dusty Americana influences to inspire their cathartic garage-rock blues. With each successive release both more experimental and popular than the one previous, Jack and Meg White have been able to explore a myriad of styles while building an enviable position in the rapidly imploding music industry. By staying true to their original minimalist model, the Stripes have not-so-quietly become one of the (if not the) biggest bands in the world.

With their sixth full-length album, the White Stripes are going for the gold, crafting an explosive collection of classic rock that plays like it's still 1975 and they're in heavy rotation between Led Zeppelin and the Allman Brothers. The title cut opens the show like AC/DC reimagining Led Zeppelin II as done by Iron Butterfly, with Jack spitting some of his most caustic and socially conscious lyrics yet.

"Conquest" retools the Patti Page standard into a horn-blasted mariachi jam that recalls the energy of "Fell in Love with a Girl" and results in one of the album's giddiest moments. "Little Cream Soda" rocks with a similar proto-metal crunch as "Thump," with Jack's stream of consciousness ranting battling his massive distortion-saturated guitar riffs for space in the maelstrom. Meg's fans are acknowledged with her vocalizing on the spoken-word free-for-all "St. Andrew (This Battle Is in the Air)" and some campy call-and-response bantering with Jack on the raucous "Rag & Bone."

Jack's time in the more straightforward Raconteurs shows up on "You Don't Know What Love Is (You Just Do As You're Told)," which is among the most pedestrian tracks he's ever penned for the Stripes. But there seems to be a method to his madness, with songs like these feeling ready-made for more mainstream outlets than the Stripes have yet to tread, like modern country radio.

With the White Stripes' career still on a stratospheric trajectory, the cleaner production and potentially more wide-reaching songwriting of Icky Thump could be a watershed moment for the band, taking them from critical and hipster darlings to the latest addition to the rock icon canon—if it hasn't already happened.

Thursday, June 07, 2007

The Long Blondes, Someone to Drive You Home (Rough Trade)

Stylish U.K. post-punks revive Brit-pop with girl-powered cautionary tales

Many of rock's finest moments result from a perfect balance of style and substance. Acts like David Bowie, the Clash and the Pretenders all made classic music that looked as influential as it sounded. U.K. upstarts the Long Blondes aim to carry that torch, coupling muscular but melodic post-punk guitar tunes recalling the best of ’90s Brit-pop with an impeccable sense of style.

Much of the band's stylistic leanings come courtesy of singer Kate Jackson (pictured), who's become a major British fashion icon over the past couple of years. She also happens to write girl-powered wordplays that sound like Pulp if Jarvis Cocker was a beret-wearing babe preaching cautionary tales to those barreling towards the pain and frustrations of womanhood.

While the band—Dorian Cox (guitars), Emma Chaplin (keyboards), Reenie Hollis (bass) and Screech (drums)—bashes out hard-charging pop that sounds like a toughed-up take on The Smiths' six-string majesty, Jackson warns her constituency about unrequited love ("Lust in the Movies"), objects of affection trapped in boring relationships ("Giddy Stratospheres") and being the reluctant but willing other woman for double-timing lotharios ("You Could Have Both"), all in a world-weary, husky croon akin to Chrissie Hynde's wounded tough chick stance.

In Jackson's worldview (via lyrics mostly written by Cox), it's a hard road for twentysomething females in the modern world. Times are so tough that even other ladies are cause for concern, as she bemoans during "In the Company of Women": "In the company of women, that's when I start to worry/What has she got, that I might not?"

The Long Blondes may not arrive with the same hype-heavy buzz of many of their contemporaries, but with an album as strong and effective as Someone to Drive You Home, it's only a matter of time before they leave a lot of the competition in the dust. And look fabulous doing it.

Subject #6: Elise


"Why, do I look young?"

Subject #4: Laura



"I bought my mom jeans in Lawrence, Kansas."

Subject #3: Ellei


"I'm originally from Boston."

Subject #2: Hip-Hop Mo$$

"I was bright as fuck."

Subject #1: Hilary


"I hope to own my own showroom someday."

Tuesday, May 29, 2007

Hot Chip, DJ Kicks (!K7)


Who: Wildly popular UK electro-poppers eschew their keyboards and drum machines to play DJ on the latest installment of this veritable mix institution.

What: The band selects a quirky collection of spacey underground gems (Grovesnor's "Nitemoves") and perennial party jams (Young Leek's "Jiggle It").

Made for:
Dance-crazy indie kids decked out in day-glo in search of exciting new ways to get their shake on; Hot Chip fans ready to dig deeper into their heroes' influences.

Battles, Mirrored (Warp)



Who: Respected math-rock super-group add vocals to their chop-heavy mix of industrialized guitar histrionics.

What: A man-machine hybrid of Krautrock precision powered by the muscle of hardcore with robot vocals and a degree in computer programming. Amazing, and a little bit scary.

Made for: The younger siblings of Tool fans looking for their own heroes; rock stalwarts hungry for bands that can really play; sci-fi freaks who wish Daft Punk played guitars.

Miracle Fortress, Five Roses (Secret City)


Who: Montreal's Graham Van Pelt explores the furthest reaches of post-pop paradise, invoking influences ranging from My Bloody Valentine to Animal Collective.

What: Dreamy and luxurious landscapes of meticulously crafted bedroom symphonies that would make Brian Wilson proud.

Made for:
Pop heads still obsessed with Wilson's Smile album in need of an update; anyone that misses the music Seth Cohen moped around to on The O.C.

(Originally published on Metromix.com)

Friday, May 18, 2007

Au Revoir Simone, The Bird of Music (Our Secret Record Company)


Dream-pop girl group revel in the beauty of sadness

On The Bird of Music, the three willowy women that comprise Brooklyn synth-pop trio Au Revoir Simone conjure a dreamy, quixotic sound reminiscent of the melancholy ambiance of Sofia Coppola's directorial debut The Virgin Suicides. Coppola's hazy, romantic vision of the 1970s was scored with a quirky cross-section of the decade's most melodically morose hits, like 10cc's "I'm Not in Love," alongside the swirling, synthesized sounds of French duo Air. Au Revoir Simone's Heather D'Angelo, Erika Forster and Annie Hart use only three keyboards and a beat-box, and write wistful, delicate songs rich with a similar nostalgia and heartbreak.

They like mixing moods, with the album opening on the downbeat but hopeful "The Lucky One," featuring child-like vocal harmonies invocative of the Carpenters singing with the Polyphonic Spree. "Sad Song" juxtaposes an uplifting, bouncy rhythm reminiscent of Stereolab against teary-eyed lines like "Play me a sad song/because that's what I want to hear/I want you to make me cry."

The ladies' quiet, comforting voices almost drown in the oceans of thick analog waves and cascading pianos that ebb and flow through "A Violent Yet Flammable World." They crank up the BPMs with a jumpy new wave tempo on the celebratory skip of "Night Majestic," before closing with the string-laden grandeur of "The Way to There."

The Bird of Music is a cinematic collection of mood-driven tone poems for your own real-life soundtrack, with Au Revoir Simone serving as the house band whenever you feel like checking out and indulging in just how good sadness can feel (and sound). With or without Coppola behind the camera.

(Originally published on Metromix.com)

Thursday, May 10, 2007

Patrick Wolf, The Magic Position (Low Altitude)



Star-kissed prodigy catches the spirit and goes for the heart


The Magic Position is the work of an artist as touching as he is touched.

Blessed with prodigious artistic talents that belie his relative youth and life experience, Patrick Wolf does the touching here. But Wolf's blessings can also be a curse, as in the way that his flamboyant tendencies and musical predilections made him a target for schoolyard bullies as a kid.

Now 23, the U.K.–born Wolf has channeled those feelings of frustration and the need to love and be loved into his third full-length album, The Magic Position, a brilliantly conceived collection of little epics, each an earnest poem dedicated to the freedom to fly your inner freak flag as high as possible. When he sings, "And I know how you've hurt/Been dragged through the dirt/But come on/Get back up/It's time to live," over a sea of soaring violins during the album's title song, it's obviously a personal observation.

His intense, dramatic vocals are an ideal foil for the sprawling nature of his songs, coming across like the overachieving lovechild of Morrissey and ambient pioneer David Sylvian. Juxtaposing symphonic grandeur with subtle electronic flourishes, Wolf creates a singular sound that's both intimate and cinematic.

Show-stopping ballads like the piano-powered "Magpies" showcase Wolf's passionate delivery against the time-hewn rasp of the legendary Marianne Faithfull, whose presence brings a substantial weight to the proceedings. From dreamy torch songs of new love ("Enchanted") to bass-heavy dance-floor anthems of heartbreak ("Bluebells"), this promising young artist is proud to wear his heart on his sleeve and sing of the joy and pain that heart has to endure.

(Originally published on Metromix.com)

Monday, May 07, 2007

New Music Tuesday: Maximo Park, Our Earthly Pleasures (Warp)

With a majority of their contemporaries suffering from varying degrees of sophomore slumping, Our Earthly Pleasures is Maxïmo Park's chance to make a move for pole position in the scene. And they've come prepared with a not-so-secret weapon: singer Paul Smith, who delivers wry witticisms in a dramatic rolling brogue that bring his band's urgent bursts of angularity to life.

Coming across like a hopped-up Jarvis Cocker channeling Morrissey, Smith's singular persona lifted the band's debut album, A Certain Trigger, above the increasingly crowded fray of the U.K.'s twitchy, guitar-driven indie bands. Best exemplified on songs like "Apply Some Pressure," Maxïmo Park's idiosyncratic charisma and left-field song arrangements showed much promise.

Replacing A Certain Trigger producer Paul Epworth (Bloc Party, the Futureheads) with studio vet Gil Norton (best known for his work on the Pixies' legendary Doolittle album), Maxïmo Park's characteristic quirkiness has been refined to a more straightforward, guitar-rock gloss. Smith still sings about the volatile chemistry between girls and boys in his own inimitable style, tossing off lines like "Last night did we go too far/is that why your nose is bleeding?" (from "Nosebleed") with casual aplomb.

They still have a way with melody and manipulating whiplash tempo changes, but their approach is much more mature and controlled. That works swimmingly both on upbeat rockers like "Girls Who Play Guitars" and the melancholy "Books From Boxes," which plays like R.E.M. covering the Smiths.

While the album starts to lose a little steam towards the end, Our Earthly Pleasures has already made a distinctive point. Its ambitions reach far beyond the casual indie fan looking for easily digestible hits, and for that alone should be applauded. The fact that they pull off a couple of surefire hits anyway makes it even more laudable.

(originally published at Metromix.com)

Thursday, May 03, 2007

Incoming: St. Vincent & John Vanderslice at Largo, Thursday May 10

Annie Clark comes from a mob background. As a member of two sprawling collectives (Polyphonic Spree and Sufjan Stevens’ touring band), she’s been a lone voice amid large ensemble casts. But when Clark transforms into St. Vincent, she sheds the multicolored robes and cheerleader outfits of those other acts to step forward and reveal her own lovely persona, and it’s quite a sight to behold. Her debut, Marry Me (on Beggars Banquet, due in July), is rife with gorgeous arrangements that invoke similarly expansive artists such as Kate Bush and Tori Amos at their most inspired, all performed with an uplifting, childlike glee. She supports John Vanderslice, late of ’90s alt-rockers MK Ultra, who has forged a stellar live rep with his clever troubadour tendencies, four-tracked daydreams and wry wordplay. Bill Gates, beware...

(Originally published in the LA Weekly, 5/07)

Monday, April 30, 2007

New Music Tuesday: Feist, The Reminder

Plugged-in Canadian sensation Feist captivated the indie scene's collective heart with her debut album Let It Be. Balancing her inherent offbeat sensibilities (she is a member of quirky post-pop outfit Broken Social Scene after all) with an ear for engaging melodies and intimate but worldly wordplay, Feist sent anticipation for her follow-up soaring. Now, with The Reminder, she delivers 2007's best bid so far for break-out success.

The album's 13 songs effortlessly blur genres and invoke a panorama of moods. The countrified roadhouse stomp of "I Feel It All" celebrates hard-earned emotional freedom and possibility, while her digitized take on 1939 folk traditional "Sealion" transforms the song into a gospel-tinged rave-up of hand claps and fuzzy guitars.

Feist's clear, strong vibrato—used to devastating effect on stark, heartbroken ballad "The Park"—holds it all together. When she revels in nostalgia and innocence lost, as on "1234," the song sounds like a birthday party at Burt Bacharach's house. Feist even delves into Joanna Newsome territory on the expansive and dramatic "Honey Honey" (and, yes, it does feature a harp).

Newsome, Aimee Mann, Fiona Apple, Imogen Heap, even Bjork—these are all artists that Feist is likely to be compared to in feeble attempts to encapsulate the breadth of her talents and this latest work. But no amount of hyperbole can truly capture the essence of what makes Feist's music such a singular expression.

On the quietly forlorn album closer "How My Heart Behaves," the sound of a single bird chirping in the distance is barely audible as the song fades out, providing the most apt metaphor for The Reminder yet.

(Originally published on Metromix.com)