There's something special about music on vinyl. It's almost magical to hear a new record. Even on the lousiest compact speakers, something about records just sounds so present. It's like hearing music in 3D.
My musical journey did not start with vinyl. While still in high school, the arrival of most Thursdays meant a trip to Tower Records. I would flip through hundreds of CDs and spend a lot of time at the listening stations. I loved the employees' recommendations. I'd take a peek at what others were purchasing. Once in the car, I would rip the plastic wrap off of each one of my purchases and insist on playing a new CD through the car stereo. But, by the time Tower Records tanked, I had lost all interest in CDs as viable media.
At about the same time, I discovered my step-dad's record collection. I flipped through the albums, full of curiosity. He hooked up his old turntable to our surround sound speakers, and although it didn't result in the best sound (old isn't always compatible with new), I still loitered around the basement to listen to many albums. I felt something magical about those old platters, and still do. They had stood the test of time, and many of them still sounded crystal clear and new.
I started to collect albums myself, but only those to which I felt a strong connection. I looked for a used record shop in every city I visited. First came Phil Ochs, then The Who's Quadrophenia, The Beatles and Cat Stevens. The list goes on. Then I discovered that new artists were pressing vinyl. The internet, and later John at Strawberry Fields Music, helped with that. Suddenly my collection that started at five or so records was pushing 50.
You are probably asking yourself, "why vinyl?" For me, vinyl is the full experience of music. You hear music as it was meant to be heard. Once music is processed digitally and changes from pure sound to "ones and zeros," it can never recapture its original quality. No matter how high the bit rate, it is never quite the same. I am also wary of classics re-pressed on vinyl for that same reason.
The visual aspect of records is also undeniable. There is much more space and freedom for the artwork, which oftentimes adds another layer to the music and the story it tells (for example, The Who's Quadrophenia came with an entire book of photographs; The Hold Steady's Boys and Girls in America came with a comic book). Album art often stands as art on its own; CD media always sort of swept art under the carpet.
Lastly, there is the tactile aspect of vinyl records. You peel back the huge sheet of shrink-wrap, shake the inner, paper sleeve out and there is that huge onyx-black platter. Everything is a delicate process (scratches are not your friend). You can see the needle physically skim around the record. There's also that fresh yet acrid smell.
The main reasons that people avoid vinyl are obvious: new records can get pricey, and the price you pay doesn't buy something that you can carry around in your iPod. I admit that, in a pinch, I'd probably sacrifice my vinyl collection to keep my iPod. Luckily, most newly pressed albums come with a code for a free MP3 download. Artists respect the vinyl medium but also see the need for portability. Used vinyl is also a great option. For only a few dollars, a complete work of music can be yours to take home, listen to, and judge.
Call me a music snob or call me old-fashioned, but I still think that vinyl is the best quality music around. With the resurgence of vinyl in the past few years, hopefully it is here to stay.
Friday, March 13, 2009
Friday, February 27, 2009
New groups bring musical diversity to Potsdam
Something exciting is happening in Potsdam. People are getting stoked on playing music the way they want to (not the way their school wants them to) and sharing their music at big gigs. Others are coming out in droves to check out this new music. The latest additions to the growing list of engaging, talented groups are The Max Howard Band and Third Rail. Playing jazz and funk respectively, the bands have all but given the boot to Potsdam's infamous singer-songwriter/adult contemporary cover band set. The most important thing about these groups is that they are not afraid to play out and they are making music fun again. Both groups played at Hurley's on February 6 to over 100 people through the night.
Intimate lighting by floor lamps scattered across the stage drew the listening audience into the Max Howard Band's performance. The group, consisting of six musicians, played music that ranged from introspective to grooving, from soft to loud and gnarly. The crowd shouted with approval during a particularly rousing solo from trombonist Max Scholl.
A quick intermission set apart the two groups. Although attendees may have been uncertain as to why such a nuanced jazz show would be standing room only, they found out when Third Rail took the stage. Third Rail, a newly established funk band, completely turned the atmosphere of Hurley's around. Wailing out a hit parade of familiar funk tunes, the group's undeniable stage presence and musicianship had everyone in the room dancing. The group's leader, Drew Coles, sang and shouted into the mic and also played keys on some charts. Songs like "Brick House," "The Chicken" and "Groove Oriented," an original tune by saxophonist Nick Natalie, provided an unflagging powerhouse of music worth dancing to. Battling solos between trombonist Alex Slomka and saxophonist Taylor Clay astonished the crowd. The band's entire set was punctuated by shouts of disbelief from listeners. All bets were off musicians from the Max Howard Band came up to join in and members of Third Rail brought their instruments down off stage, playing and dancing their way through the crowd. This unique interaction broke down the invisible barrier between the stage and the audience.
The huge turnout for this show, unlike the medium turnout for the prior weekend's Left Ear Trio, proved that nothing packs the house like student musicians. In a small room where it's difficult to accommodate groups like the Crane Jazz Ensemble, there is no better solution than to invite in these smaller collectives.
Intimate lighting by floor lamps scattered across the stage drew the listening audience into the Max Howard Band's performance. The group, consisting of six musicians, played music that ranged from introspective to grooving, from soft to loud and gnarly. The crowd shouted with approval during a particularly rousing solo from trombonist Max Scholl.
A quick intermission set apart the two groups. Although attendees may have been uncertain as to why such a nuanced jazz show would be standing room only, they found out when Third Rail took the stage. Third Rail, a newly established funk band, completely turned the atmosphere of Hurley's around. Wailing out a hit parade of familiar funk tunes, the group's undeniable stage presence and musicianship had everyone in the room dancing. The group's leader, Drew Coles, sang and shouted into the mic and also played keys on some charts. Songs like "Brick House," "The Chicken" and "Groove Oriented," an original tune by saxophonist Nick Natalie, provided an unflagging powerhouse of music worth dancing to. Battling solos between trombonist Alex Slomka and saxophonist Taylor Clay astonished the crowd. The band's entire set was punctuated by shouts of disbelief from listeners. All bets were off musicians from the Max Howard Band came up to join in and members of Third Rail brought their instruments down off stage, playing and dancing their way through the crowd. This unique interaction broke down the invisible barrier between the stage and the audience.
The huge turnout for this show, unlike the medium turnout for the prior weekend's Left Ear Trio, proved that nothing packs the house like student musicians. In a small room where it's difficult to accommodate groups like the Crane Jazz Ensemble, there is no better solution than to invite in these smaller collectives.
Friday, February 06, 2009
Celebration of Keith Gates's Music and Interview with Julie Miller
When a recital or concert becomes a perspective-altering experience, it is set apart from all others. A concert of the late Keith Gates's music, presented in Snell Theater on Sunday, February 1, fit that description. The amount of passion, both in the composition and performance of the three works, was truly moving.
The Crane School of Music piano instructor and staff accompanist, Julie Miller, organized the concert. She met Keith Gates when they were colleagues at McNeese State University in Louisiana. They played four-hand piano music and gave recitals together. "When he was diagnosed with pancreatic cancer in August 2006, we realized his remaining time was short, and were horrified to think that his music might be lost to the world," said Miller about why she is so adamant about spreading the music of Keith Gates. Julie Miller and her husband, Lane, have been instrumental in the process of having Gates's scores typeset and published.
The diverse program demonstrated the scope of Keith Gates's compositions. His works range from vocal, choral and small instrumental groups to wind ensemble pieces and opera. His works prove that 20th century music can be both innovative and tonal. Julie Miller played piano on each of the selections.
"Sonata for Flute and Piano" (notable for the large role that the piano plays in addition to the solo flute) was a nice warm up for what the audience had in store. Professor Kenneth Andrews's playing was elegant, especially during an arpeggiated cadenza. Andrews listened reverentially to the chorale-like piano chords of the second movement.
The second piece on the program was easily the most engaging. Professors Raphael Sanders (clari and John Ellis (trumpet) joined Miller and sophomore Zachary Browning to form an unstoppable quartet. The blend between the trumpet and clarinet was, at times, so precise that the individual instruments were no longer distinguishable and took on a wholly unique timbre. Browning was circled by almost every percussion instrument found in Western music that you could name, and made his rounds quickly and precisely. That he was able to play such an involved piece with a group of professors was admirable.
The final composition, "Three Pieces in the Landscape of a Soul," was heart wrenching and contemplative. In the exploration of the human condition through three backdrops: "The Prison," The Battlefield," and "The Garden," tenor professor Donald George gave an emotional and powerful performance backed by a choir of 20 voices. Piano, cello and different permutations of the human voice (such as humming) were versatile enough to characterize each of the three movements exceptionally.
A true collaboration of faculty, students and alumni, the production was heartfelt from beginning to end. The concert was webcast so that those too far away to travel to Potsdam could enjoy the performance. Even the program notes were put together with care, featuring descriptions of each piece, lyrics and notes from those who knew Gates. Students and visitors to Crane are lucky to be exposed to such wonderful music by those who care about it so deeply. "I can feel his presence in every measure, joy as well as sorrow, because he experienced a lot of each, and was able to express them so poignantly," said Miller in summation. Those emotions and many more were well communicated by Sunday's performers.
For more information about Keith Gates's life and work, visit: www.keithgates.com.
Kimberly Harrison: How did you meet Keith Gates? What were your interactions with him?
Julie Miller: I met him in 1991, when I accepted a job at McNeese State University in Lake Charles, LA, where Keith taught music theory and composition. He had an enormous zest for piano four-hand music, so at some point we began playing duets, and gave several recitals together. Keith and my husband, Lane, were stand partners in the cello section of the school orchestra, as well. When Keith asked Lane to play in the pit orchestra for his opera _Evangeline _in 1995, that was the beginning of Lane's realization that Keith's music was something special. At one point I was Keith's successor as a church organist/choir director, and I found that to be very humbling, because of his improvisational gifts, and his powerful and personal interpretation of hymns, which often moved people to tears.
KH: Did you play his compositions before he passed away?
JM: He was such a phenomenal pianist that he played most pieces himself. Reading the hand-written manuscripts would have been difficult for me, and he already had everything memorized. I used to be so amused turning pages for him, because it seemed as though he never looked at the music. For some reason, I was the pianist for 2 student performances, a song, "Life" with text by Helen Lourie Marsh, and the 1st movement of the flute sonatina, and I was very impressed by their beauty and style. I had asked him about his piano works, but in his usual modest way, he mentioned only a work that had been lost. Years later, when Keith allowed Lane to scan all of his scores for the purpose of self-publishing them, I began to read them, and I felt as though I were becoming acquainted with a hundred of Keith's dearest friends, his creations. I can feel his presence in every measure, joy as well as sorrow, because he experienced a lot of each, and was able to express them so poignantly
KH: Why are you so adamant about getting his compositions performed?
JM: When he was diagnosed with pancreatic cancer in August 2006, we realized his remaining time was short, and were horrified to think that his music might be lost to the world. At that point most of it was in manuscript, sitting in his file cabinet. He was certainly admired, and even revered, in Lake Charles and in Louisiana, but that was too small a group of admirers to ensure that his music would reach another generation. Crane, being a large music school, is the perfect starting place to launch this music. To date, 15 faculty have been kind enough to perform Gates, and a whopping 31 Crane students have performed his music. They are Keith's future - they are at the beginning of their careers, and we hope that they will continue to perform and teach their students about the music of Keith Gates. That so many people, even those who never knew Keith, have been touched by the power of his music, gives strength to our belief that his works are significant and deserve a wider audience. We feel so strongly about it that we try to tell every guest artist who visits Crane about the music. This has been gratifying as well, leading to performances and a possible recording project.
KH: To what lengths have you gone to get his compositions performed?
JM: We have invested considerably in typesetting the works to make beautiful editions of his music. We began with vocal, choral and instrumental works, and are now moving into some wind ensemble pieces and operas. Sometimes we receive an order for a work that isn't even begun yet, so we have to scramble. There is much proofreading and tweaking to be done, plus the more difficult task of making decisions when faced with discrepancies - things only Keith could have answered. We have also begun making orchestral reductions so that some of the greatest works, like the flute concertino with wind ensemble, can be performed with piano. I have made several successful transcriptions as well, because he had begun doing this when he realized he wouldn't have time to write many more compositions. We have a growing body of customers, most of whom are strangers to us, who have performed Gates in at least 10 states. An orchestra from California took the violin concerto on a European tour.
KH: If someone wants to find more out about Keith Gates, his music and his JM: legacy, where would you point them?
JM: Our website, www.keithgates.com, is a good starting place to learn about him; it has a biography, recordings, list of works, reviews and photos. The most intimate section is the guestbook. It begins with old friends from North Carolina School of the Arts and Juilliard lamenting his illness, and goes through decades of adoring students telling how he changed their lives. There are comments from friends from church and synagogue, thanking him for ministering with his words and music. There are poems written by, and for Keith, including two by his oldest daughter. There are many expressions of sympathy during the time of his death on May 22, 2007, but people still write - there were two new entries last week. Our webcasts are available at www.mogulus.com/keithgates and www.mogulus.com/keithgates2. Since Lane and I are the caretakers of his musical works, we are the most accessible sources of information at this time. It would be great if one of his four children would write a book someday, but for now they are still adjusting to their loss. We were so pleased that Keith's widow and youngest daughter were able to watch our webcast on February 1st. It has been understandably difficult for them to listen to his music since his death, and we hope that, in time, it will be as great a comfort to them as it is to us.
The Crane School of Music piano instructor and staff accompanist, Julie Miller, organized the concert. She met Keith Gates when they were colleagues at McNeese State University in Louisiana. They played four-hand piano music and gave recitals together. "When he was diagnosed with pancreatic cancer in August 2006, we realized his remaining time was short, and were horrified to think that his music might be lost to the world," said Miller about why she is so adamant about spreading the music of Keith Gates. Julie Miller and her husband, Lane, have been instrumental in the process of having Gates's scores typeset and published.
The diverse program demonstrated the scope of Keith Gates's compositions. His works range from vocal, choral and small instrumental groups to wind ensemble pieces and opera. His works prove that 20th century music can be both innovative and tonal. Julie Miller played piano on each of the selections.
"Sonata for Flute and Piano" (notable for the large role that the piano plays in addition to the solo flute) was a nice warm up for what the audience had in store. Professor Kenneth Andrews's playing was elegant, especially during an arpeggiated cadenza. Andrews listened reverentially to the chorale-like piano chords of the second movement.
The second piece on the program was easily the most engaging. Professors Raphael Sanders (clari and John Ellis (trumpet) joined Miller and sophomore Zachary Browning to form an unstoppable quartet. The blend between the trumpet and clarinet was, at times, so precise that the individual instruments were no longer distinguishable and took on a wholly unique timbre. Browning was circled by almost every percussion instrument found in Western music that you could name, and made his rounds quickly and precisely. That he was able to play such an involved piece with a group of professors was admirable.
The final composition, "Three Pieces in the Landscape of a Soul," was heart wrenching and contemplative. In the exploration of the human condition through three backdrops: "The Prison," The Battlefield," and "The Garden," tenor professor Donald George gave an emotional and powerful performance backed by a choir of 20 voices. Piano, cello and different permutations of the human voice (such as humming) were versatile enough to characterize each of the three movements exceptionally.
A true collaboration of faculty, students and alumni, the production was heartfelt from beginning to end. The concert was webcast so that those too far away to travel to Potsdam could enjoy the performance. Even the program notes were put together with care, featuring descriptions of each piece, lyrics and notes from those who knew Gates. Students and visitors to Crane are lucky to be exposed to such wonderful music by those who care about it so deeply. "I can feel his presence in every measure, joy as well as sorrow, because he experienced a lot of each, and was able to express them so poignantly," said Miller in summation. Those emotions and many more were well communicated by Sunday's performers.
For more information about Keith Gates's life and work, visit: www.keithgates.com.
Kimberly Harrison: How did you meet Keith Gates? What were your interactions with him?
Julie Miller: I met him in 1991, when I accepted a job at McNeese State University in Lake Charles, LA, where Keith taught music theory and composition. He had an enormous zest for piano four-hand music, so at some point we began playing duets, and gave several recitals together. Keith and my husband, Lane, were stand partners in the cello section of the school orchestra, as well. When Keith asked Lane to play in the pit orchestra for his opera _Evangeline _in 1995, that was the beginning of Lane's realization that Keith's music was something special. At one point I was Keith's successor as a church organist/choir director, and I found that to be very humbling, because of his improvisational gifts, and his powerful and personal interpretation of hymns, which often moved people to tears.
KH: Did you play his compositions before he passed away?
JM: He was such a phenomenal pianist that he played most pieces himself. Reading the hand-written manuscripts would have been difficult for me, and he already had everything memorized. I used to be so amused turning pages for him, because it seemed as though he never looked at the music. For some reason, I was the pianist for 2 student performances, a song, "Life" with text by Helen Lourie Marsh, and the 1st movement of the flute sonatina, and I was very impressed by their beauty and style. I had asked him about his piano works, but in his usual modest way, he mentioned only a work that had been lost. Years later, when Keith allowed Lane to scan all of his scores for the purpose of self-publishing them, I began to read them, and I felt as though I were becoming acquainted with a hundred of Keith's dearest friends, his creations. I can feel his presence in every measure, joy as well as sorrow, because he experienced a lot of each, and was able to express them so poignantly
KH: Why are you so adamant about getting his compositions performed?
JM: When he was diagnosed with pancreatic cancer in August 2006, we realized his remaining time was short, and were horrified to think that his music might be lost to the world. At that point most of it was in manuscript, sitting in his file cabinet. He was certainly admired, and even revered, in Lake Charles and in Louisiana, but that was too small a group of admirers to ensure that his music would reach another generation. Crane, being a large music school, is the perfect starting place to launch this music. To date, 15 faculty have been kind enough to perform Gates, and a whopping 31 Crane students have performed his music. They are Keith's future - they are at the beginning of their careers, and we hope that they will continue to perform and teach their students about the music of Keith Gates. That so many people, even those who never knew Keith, have been touched by the power of his music, gives strength to our belief that his works are significant and deserve a wider audience. We feel so strongly about it that we try to tell every guest artist who visits Crane about the music. This has been gratifying as well, leading to performances and a possible recording project.
KH: To what lengths have you gone to get his compositions performed?
JM: We have invested considerably in typesetting the works to make beautiful editions of his music. We began with vocal, choral and instrumental works, and are now moving into some wind ensemble pieces and operas. Sometimes we receive an order for a work that isn't even begun yet, so we have to scramble. There is much proofreading and tweaking to be done, plus the more difficult task of making decisions when faced with discrepancies - things only Keith could have answered. We have also begun making orchestral reductions so that some of the greatest works, like the flute concertino with wind ensemble, can be performed with piano. I have made several successful transcriptions as well, because he had begun doing this when he realized he wouldn't have time to write many more compositions. We have a growing body of customers, most of whom are strangers to us, who have performed Gates in at least 10 states. An orchestra from California took the violin concerto on a European tour.
KH: If someone wants to find more out about Keith Gates, his music and his JM: legacy, where would you point them?
JM: Our website, www.keithgates.com, is a good starting place to learn about him; it has a biography, recordings, list of works, reviews and photos. The most intimate section is the guestbook. It begins with old friends from North Carolina School of the Arts and Juilliard lamenting his illness, and goes through decades of adoring students telling how he changed their lives. There are comments from friends from church and synagogue, thanking him for ministering with his words and music. There are poems written by, and for Keith, including two by his oldest daughter. There are many expressions of sympathy during the time of his death on May 22, 2007, but people still write - there were two new entries last week. Our webcasts are available at www.mogulus.com/keithgates and www.mogulus.com/keithgates2. Since Lane and I are the caretakers of his musical works, we are the most accessible sources of information at this time. It would be great if one of his four children would write a book someday, but for now they are still adjusting to their loss. We were so pleased that Keith's widow and youngest daughter were able to watch our webcast on February 1st. It has been understandably difficult for them to listen to his music since his death, and we hope that, in time, it will be as great a comfort to them as it is to us.
Andrew Bird Balances Complexity and Simplicity on latest CD
In a time when electronics are the preferred medium for most popular music (and a good part of indie music), Andrew Bird's crisp violin solos over instrumental harmonies are extremely refreshing. On Noble Beast, each song ebbs and flows naturally, each one a self-contained soundscape that allows the listener to step out of his or herself for a few minutes. He manipulates each song to a great extent: songs have long introductions, surprising changes mid-way through and extended ambient outros. Instrumental interludes bridge several songs together creating cohesion on the album.
Bird's unique style as a musician makes him stand out when compared to his contemporaries. He builds his songs from the ground up using a loop station; he builds off of his own pizzicato violin playing, bowed phrases, whistling and voice. He brings new depth and a breath of life to otherwise stale notions. He uses his violin in fresh and innovative ways on the album, both as an accompanying and melody instrument.
Andrew Bird has also surpassed many of his contemporaries lyrically. In an interview with Drowned in Sound, Bird said, "Language is dead. Long live language. I'm not sure if this is mourning or celebrating the dilution of words." Much like The Decemberists and The Hold Steady, known for their verbose approach to lyrics, Andrew Bird explores a vast vocabulary while still fitting words in rhythmically to compliment his music.
Melody-driven songs like "Privateers" and "Fitz and the Dizzyspells." They have choruses that you will find yourself humming, or much like Bird, whistling. Songs like "Anonanimal" and "Not a Robot, but a Ghost" are allowed to change and grow with the passage of time. Harmonies with female vocals on the track "Effigy" are elegant-just enough to make the track stand out.
"Anonanimal" is by far the most engaging track on Noble Beast. The rhythmic interest holds through the whole song, exposing the ears to unexpected but brilliant variations. A brief interlude during the song is the most mind-blowing part of the album. The lyrical content of the song is thought provoking—when and how will humans evolve? Indeed, many songs on the album reference back to the idea of the natural world and the role that different creatures (especially humans) play.
The album is very warm and comforting. It is something that I could easily come back to month after month and still find satisfying. And, with each listen, I expect to hear new elements to this complex music. I am sure that as I mature, the album, too, will grow with me.
Noble Beast was released in several formats: CD, deluxe edition CD (with a bonus disc of instrumental works entitled Useless Creatures) and double vinyl LP. For an in-depth look at the album, track-by-track, with the artist himself, check out http://drownedinsound.com/in_depth/4136162. For more information about Andrew Bird, visit his website at www.andrewbird.net. The Chicago-based musician will visit Montreal, QC and South Burlington, VT in the spring on his upcoming tour.
Wednesday, January 28, 2009
La Casbah culminates second-floor construction
To be published in The Racquette on January 30, 2009.
Downtown Potsdam’s unique Moroccan restaurant, La Casbah, will open its spacious second floor as soon as Valentine’s Day—exactly a year after the restaurant first opened its doors. Renovations to the former Masonic temple—turned dance studio—will transform the versatile space into a catering hall and club. The opening will also spark the presentation of some non-alcoholic all age events and open mic nights.
Partners Hassan Hmyene, Alex Bennani and Rida Bourhouat brought La Casbah to Potsdam in 2008 after several successful restaurant ventures elsewhere. The restaurant has not only grown in popularity because of its flavorful foods, but because of the live music that it hosts all weekend long. The co-owners’ passion about fostering live local music is clear. “I am going to bring [live] music back to this community no matter what it takes,” said Bennani. The room will be furnished with the proper sound equipment for all sorts of live music, and will be able to facilitate rehearsals, jam sessions and live shows.
“When I came to Potsdam and found this young generation and this talent on these campuses I said, ‘this is what I want to promote,’” revealed Bennani, “I love it, I really love it.” “The owners there [at La Casbah] are very appreciative of us and they are always trying to find ways to accommodate us,” said senior music education major Benton Sillick, who plays in several groups that perform at La Casbah. Opportunities for young musicians are endless at La Casbah. Sophomore music majors Max Howard and Nick Natalie sometimes perform jazz selections during dinner hours. “It is very refreshing for musicians to know the Casbah is so open to all different kinds of live music,” said saxophonist Natalie. Both musicians cited the fun atmosphere and great music as things that keep them coming back to La Casbah.
La Casbah began upstairs renovations in the summer of 2008 with KMA Construction. The plan for the spacious room consists of a stage, a large bar, and a mezzanine with a great view of the full room. The need for space is evidenced by the sheer number of local college students who “come and they practice and they have a good time and they bring the crowd and everybody has a good time,” asserted Bennani.
The focal point of the new room is a beautiful red-stained hardwood bar with copper accents. It is easily twice the size of its downstairs counterpart. The room will potentially have a capacity of over 200 persons—a number that will not be definite until Potsdam Village code enforcement officer, John Hill, inspects the finalized space. The Village of Potsdam has been instrumental in helping La Casbah carry out its expansion.
While the majority of events held at La Casbah will remain 21+, a select few will be open to a younger crowd. On those occasions, for the safety of the attendees and the restaurant’s credibility, the bar will be closed, and non-alcoholic refreshments will be served. “When there is an event where a good band is playing and underage (persons) want to come, we will definitely have a solution for it by… [either] separating or bracelets,” said co-owner Alex Bennani, “we would be able to control it, but we have got to be very organized for it and be sure that there is no way that underage (persons) will drink at La Casbah.”
The exciting new addition to La Casbah should be open to the public on or around February 14, 2009. Musicians and music lovers of all ages will benefit from the new space.
Downtown Potsdam’s unique Moroccan restaurant, La Casbah, will open its spacious second floor as soon as Valentine’s Day—exactly a year after the restaurant first opened its doors. Renovations to the former Masonic temple—turned dance studio—will transform the versatile space into a catering hall and club. The opening will also spark the presentation of some non-alcoholic all age events and open mic nights.
Partners Hassan Hmyene, Alex Bennani and Rida Bourhouat brought La Casbah to Potsdam in 2008 after several successful restaurant ventures elsewhere. The restaurant has not only grown in popularity because of its flavorful foods, but because of the live music that it hosts all weekend long. The co-owners’ passion about fostering live local music is clear. “I am going to bring [live] music back to this community no matter what it takes,” said Bennani. The room will be furnished with the proper sound equipment for all sorts of live music, and will be able to facilitate rehearsals, jam sessions and live shows.
“When I came to Potsdam and found this young generation and this talent on these campuses I said, ‘this is what I want to promote,’” revealed Bennani, “I love it, I really love it.” “The owners there [at La Casbah] are very appreciative of us and they are always trying to find ways to accommodate us,” said senior music education major Benton Sillick, who plays in several groups that perform at La Casbah. Opportunities for young musicians are endless at La Casbah. Sophomore music majors Max Howard and Nick Natalie sometimes perform jazz selections during dinner hours. “It is very refreshing for musicians to know the Casbah is so open to all different kinds of live music,” said saxophonist Natalie. Both musicians cited the fun atmosphere and great music as things that keep them coming back to La Casbah.
La Casbah began upstairs renovations in the summer of 2008 with KMA Construction. The plan for the spacious room consists of a stage, a large bar, and a mezzanine with a great view of the full room. The need for space is evidenced by the sheer number of local college students who “come and they practice and they have a good time and they bring the crowd and everybody has a good time,” asserted Bennani.
The focal point of the new room is a beautiful red-stained hardwood bar with copper accents. It is easily twice the size of its downstairs counterpart. The room will potentially have a capacity of over 200 persons—a number that will not be definite until Potsdam Village code enforcement officer, John Hill, inspects the finalized space. The Village of Potsdam has been instrumental in helping La Casbah carry out its expansion.
While the majority of events held at La Casbah will remain 21+, a select few will be open to a younger crowd. On those occasions, for the safety of the attendees and the restaurant’s credibility, the bar will be closed, and non-alcoholic refreshments will be served. “When there is an event where a good band is playing and underage (persons) want to come, we will definitely have a solution for it by… [either] separating or bracelets,” said co-owner Alex Bennani, “we would be able to control it, but we have got to be very organized for it and be sure that there is no way that underage (persons) will drink at La Casbah.”
The exciting new addition to La Casbah should be open to the public on or around February 14, 2009. Musicians and music lovers of all ages will benefit from the new space.
Tuesday, January 27, 2009
Dance Music for people who Hate Dance Music
To be published in The Racquette on 1/30/2009.
Foot stomps, hand claps, synths and singalong choruses make up the signature sound that Matt and Kim have defined for themselves. Grand, named for a street in their hometown, Brooklyn, is no departure from this formula. They have created yet another CD of dance music for people who don’t like dance music. Matt Johnson (keyboards) and Kim Schifino (drums) share the vocals, but Matt’s unique voice almost always takes the lead. If the band has grown at all since their first album, it is through layering more things, such as acoustic piano and synthesized strings, which make the album much more full-bodied and satisfying.
The music is built on simple principles: driving backbeat and arpeggio-drenched keyboards. This simplicity makes it hard to dislike them, as they don’t ever do anything offensive. Still, they manage to mar the uncomplicated formula by taking some songs a bit too fast, leaving the listener gasping for air.
The opening track, “Daylight,” is a showstopper. The song is so catchy and easily relatable that they see fit to reprise it as the last track as well. By bookending the album in this way, they almost cancel out the utterly forgettable moments in the middle of the album. But, even on the less memorable tracks, there are still catchy melodies that will have you humming or singing along.
This is a great album to dance or work out to. You can download the single, “Daylight,” for free at http://www.greenlabelsound.com/mattandkim. The album doesn’t promise to stand up to multiple listens, but it is definitely something fun to turn on when your mood needs a boost.
Foot stomps, hand claps, synths and singalong choruses make up the signature sound that Matt and Kim have defined for themselves. Grand, named for a street in their hometown, Brooklyn, is no departure from this formula. They have created yet another CD of dance music for people who don’t like dance music. Matt Johnson (keyboards) and Kim Schifino (drums) share the vocals, but Matt’s unique voice almost always takes the lead. If the band has grown at all since their first album, it is through layering more things, such as acoustic piano and synthesized strings, which make the album much more full-bodied and satisfying.
The music is built on simple principles: driving backbeat and arpeggio-drenched keyboards. This simplicity makes it hard to dislike them, as they don’t ever do anything offensive. Still, they manage to mar the uncomplicated formula by taking some songs a bit too fast, leaving the listener gasping for air.
The opening track, “Daylight,” is a showstopper. The song is so catchy and easily relatable that they see fit to reprise it as the last track as well. By bookending the album in this way, they almost cancel out the utterly forgettable moments in the middle of the album. But, even on the less memorable tracks, there are still catchy melodies that will have you humming or singing along.
This is a great album to dance or work out to. You can download the single, “Daylight,” for free at http://www.greenlabelsound.com/mattandkim. The album doesn’t promise to stand up to multiple listens, but it is definitely something fun to turn on when your mood needs a boost.
Sunday, January 11, 2009
Writing Songs
I'm curious. If you happen to stumble across this blog and you are a songwriter, where do you get inspiration, and how do you pull yourself out of a slump??
Thursday, January 01, 2009
didn't quite make it to 50 books this year
another year and i've fallen a bit short of my goal. still better than last year! i can think of a few books on this list that were a waste though...
1. The Curious Incident of the Dog in the Night-Time by Mark Haddon
2. Hocus Pocus by Kurt Vonnegut
3. Love is a Mix Tape by Rob Sheffield
4. The Witches by Roald Dahl
5. Mix Tape by Thurston Moore
6. Black Hole by Charles Burns
7. Geek Love by Katherine Dunn
8. Dress Your Family in Corduroy and Denim by David Sedaris
9. The Hitchhiker’s Guide to the Galaxy by Douglas Adams
10. The Teachings of Don Juan by Carlos Castaneda
11. Papillon by Henri Charrière
12. The Collected Cloth by Jack Terricloth
13. Zen and the Art of Motorcycle Maintenance by Robert Pirsig
14. Banco by Henri Charrière
15. New Brunswick, New Jersey, Goodbye by Ronen Kauffman
16. Water for Elephants by Sara Gruen
17. The Inner Game of Music by Barry Green
18. Into the Wild by Jon Krakauer
19. How We Are Hungry by Dave Eggers
20. You Shall Know Our Velocity by Dave Eggers
21. Fear and Loathing in Las Vegas by Hunter S. Thompson
22. Naked by David Sedaris
23. Diary by Chuck Palahniuk
24. The Best American Nonrequired Reading [2007] edited by Dave Eggers
25. Me Talk Pretty One Day by David Sedaris
26. The Film Club by David Gilmour
27. The Best American Nonrequired Reading [2002] edited by Dave Eggers
28. The Book of Lost Things by John Connolly
29. Animal, Vegetable, Miracle by Barbara Kingsolver
30. Eats, Shoots & Leaves by Lynne Truss
31. Darkly Dreaming Dexter by Jeff Lindsay
32. Special Topics in Calamity Physics by Marisha Pessl
33. When You Are Engulfed in Flames by David Sedaris
34. Flash Fiction Forward anthology
35. The Best American Nonrequired Reading [2008] edited by Dave Eggers
36. The Dain Curse by Dashiell Hammett
37. The Devil in the White City by Erik Larson
1. The Curious Incident of the Dog in the Night-Time by Mark Haddon
2. Hocus Pocus by Kurt Vonnegut
3. Love is a Mix Tape by Rob Sheffield
4. The Witches by Roald Dahl
5. Mix Tape by Thurston Moore
6. Black Hole by Charles Burns
7. Geek Love by Katherine Dunn
8. Dress Your Family in Corduroy and Denim by David Sedaris
9. The Hitchhiker’s Guide to the Galaxy by Douglas Adams
10. The Teachings of Don Juan by Carlos Castaneda
11. Papillon by Henri Charrière
12. The Collected Cloth by Jack Terricloth
13. Zen and the Art of Motorcycle Maintenance by Robert Pirsig
14. Banco by Henri Charrière
15. New Brunswick, New Jersey, Goodbye by Ronen Kauffman
16. Water for Elephants by Sara Gruen
17. The Inner Game of Music by Barry Green
18. Into the Wild by Jon Krakauer
19. How We Are Hungry by Dave Eggers
20. You Shall Know Our Velocity by Dave Eggers
21. Fear and Loathing in Las Vegas by Hunter S. Thompson
22. Naked by David Sedaris
23. Diary by Chuck Palahniuk
24. The Best American Nonrequired Reading [2007] edited by Dave Eggers
25. Me Talk Pretty One Day by David Sedaris
26. The Film Club by David Gilmour
27. The Best American Nonrequired Reading [2002] edited by Dave Eggers
28. The Book of Lost Things by John Connolly
29. Animal, Vegetable, Miracle by Barbara Kingsolver
30. Eats, Shoots & Leaves by Lynne Truss
31. Darkly Dreaming Dexter by Jeff Lindsay
32. Special Topics in Calamity Physics by Marisha Pessl
33. When You Are Engulfed in Flames by David Sedaris
34. Flash Fiction Forward anthology
35. The Best American Nonrequired Reading [2008] edited by Dave Eggers
36. The Dain Curse by Dashiell Hammett
37. The Devil in the White City by Erik Larson
Wednesday, December 17, 2008
Changing Ukulele Strings...for dummies
Hey all.
As some of you know, playing the ukulele is both a hobby and passion of mine. As with all stringed instruments, putting on new strings is one of the cheapest/easiest things you can do to improve the sound of your instrument. My new uke, an Oscar Schmidt OU-5, had mediocre strings on it. I changed them for Martin strings recently. Here are some pieces of advice that might help you next time you go to change your strings...
-Watch this video on youtube a bunch of times: http://www.youtube.com/watch?v=mU42wHlS-NY
-Remember to only change one string at a time. The other three strings will keep the tension on the neck and prevent damage to your instrument. They also allow you to have a reference point when making your knot.
-The knot will tighten as you wind the string on—be sure to leave slack at the bottom. The slack will also help you hold the string better as your fingers will probably get sweaty/slippery.
-Leave plenty of slack at the top, too. Chances are that the strings are much longer than you need them. You can always trim them after.
-When winding the string on, make sure one round goes above the hole, and the rest go below the hole.
-Use a string winder—no need to get carpal tunnel...
Is that helpful? Good luck!
As some of you know, playing the ukulele is both a hobby and passion of mine. As with all stringed instruments, putting on new strings is one of the cheapest/easiest things you can do to improve the sound of your instrument. My new uke, an Oscar Schmidt OU-5, had mediocre strings on it. I changed them for Martin strings recently. Here are some pieces of advice that might help you next time you go to change your strings...
-Watch this video on youtube a bunch of times: http://www.youtube.com/watch?v=mU42wHlS-NY
-Remember to only change one string at a time. The other three strings will keep the tension on the neck and prevent damage to your instrument. They also allow you to have a reference point when making your knot.
-The knot will tighten as you wind the string on—be sure to leave slack at the bottom. The slack will also help you hold the string better as your fingers will probably get sweaty/slippery.
-Leave plenty of slack at the top, too. Chances are that the strings are much longer than you need them. You can always trim them after.
-When winding the string on, make sure one round goes above the hole, and the rest go below the hole.
-Use a string winder—no need to get carpal tunnel...
Is that helpful? Good luck!
Friday, December 05, 2008
Battle of the Bands round two sets high bar for finals
Backstreets was filled with anxious music fans on Saturday, November 22. The competition was tight but the fans spoke: The Moistmakers and Morphium Theory will be moving on to the finals.
Four full bands performed during the second round of Madstop's annual Battle of the Bands.
Newcomers Goodnight Moon opened the show, playing to an intimate crowd. The trio, made up of Crane students, had a solid rock sound with a nice keyboard layer on top. The guys looked a little nervous at first, but their demeanor and playing settled in very quickly. One song had the vibe of Sonic Youth, but accessible. This band definitely has a lot of promise. Hopefully they will be more comfortable and smile more next time they perform, and maybe play a few more tunes people can dance to.
Out-of-town metal band Necrosis followed the local Goodnight Moon. They came from Clifton Park, NY and clearly brought a bit of a fanbase with them. While the musicians showed great technique on their instruments (especially the lead guitarist), one has to wonder where to draw the line between noise and music. Some people were extremely into Necrosis's gritty wall of sound, dancing and moshing in the front of the room. Others stood back, either in awe or pain. With so much great musical talent in the Potsdam area, it is unclear why Madstop felt the need to bring in an out-of-town act. Perhaps they ultimately found that there were not enough local bands who could commit to the performance dates, but Madstop could have found a band with a better sound.
The last two groups to perform were the winners. They had the benefit of the large crowd that had grown throughout the night. The Moistmakers have proven themselves as a fan favorite funk/party band, performing at several venues and parties around Potsdam. The group got many audience members up and dancing. The group's eclectic line-up of all Crane musicians allows them to explore all sorts of styles and timbres. The small horn section and two percussionists heated up the room. Out of all of the groups, The Moistmakers smiled and had the most fun on stage.
The last group, Morphium Theory, has also established a local fanbase. This melodic hardcore group provided accessibility and featured a nice mix of vocal styles. Their great sound secured their spot in the finals.
It was a close call for the winning bands, which will be moving on to play in the final battle. The final four contestants are The Moistmakers, Morphium Theory, Doug Campbell and Steve Muciolo. Due to a scheduling conflict with the venue, the date of the Battle of the Bands-Final Battle has been moved to Tuesday, December 9. The event will still be held at Backstreets Night Club from 7:30 to 10 p.m. Admittance is 18+ with a charge of $4. You must be 21 to drink.
Madstop concert production executive, junior music business major Sarah Hope asserted that the change is for the best.?"It will work because academic prep days give time to prep and to rehabilitate before finals hit, so it will be a nice chance to have fun amidst studying," said Hope.
Four full bands performed during the second round of Madstop's annual Battle of the Bands.
Newcomers Goodnight Moon opened the show, playing to an intimate crowd. The trio, made up of Crane students, had a solid rock sound with a nice keyboard layer on top. The guys looked a little nervous at first, but their demeanor and playing settled in very quickly. One song had the vibe of Sonic Youth, but accessible. This band definitely has a lot of promise. Hopefully they will be more comfortable and smile more next time they perform, and maybe play a few more tunes people can dance to.
Out-of-town metal band Necrosis followed the local Goodnight Moon. They came from Clifton Park, NY and clearly brought a bit of a fanbase with them. While the musicians showed great technique on their instruments (especially the lead guitarist), one has to wonder where to draw the line between noise and music. Some people were extremely into Necrosis's gritty wall of sound, dancing and moshing in the front of the room. Others stood back, either in awe or pain. With so much great musical talent in the Potsdam area, it is unclear why Madstop felt the need to bring in an out-of-town act. Perhaps they ultimately found that there were not enough local bands who could commit to the performance dates, but Madstop could have found a band with a better sound.
The last two groups to perform were the winners. They had the benefit of the large crowd that had grown throughout the night. The Moistmakers have proven themselves as a fan favorite funk/party band, performing at several venues and parties around Potsdam. The group got many audience members up and dancing. The group's eclectic line-up of all Crane musicians allows them to explore all sorts of styles and timbres. The small horn section and two percussionists heated up the room. Out of all of the groups, The Moistmakers smiled and had the most fun on stage.
The last group, Morphium Theory, has also established a local fanbase. This melodic hardcore group provided accessibility and featured a nice mix of vocal styles. Their great sound secured their spot in the finals.
It was a close call for the winning bands, which will be moving on to play in the final battle. The final four contestants are The Moistmakers, Morphium Theory, Doug Campbell and Steve Muciolo. Due to a scheduling conflict with the venue, the date of the Battle of the Bands-Final Battle has been moved to Tuesday, December 9. The event will still be held at Backstreets Night Club from 7:30 to 10 p.m. Admittance is 18+ with a charge of $4. You must be 21 to drink.
Madstop concert production executive, junior music business major Sarah Hope asserted that the change is for the best.?"It will work because academic prep days give time to prep and to rehabilitate before finals hit, so it will be a nice chance to have fun amidst studying," said Hope.
Minor Swing plays unique gypsy jazz at La Casbah
Imagine yourself in a smoky Parisian café. The year is 1933 or 1934 and strains of gypsy jazz music softly support the din of conversation and revelry. Potsdam's own Minor Swing recreated this aural image and atmosphere during a performance at La Casbah on Thursday, November 20.
Minor Swing is composed of four permanent members. Founding members Christopher Brown and Victor Caamaño play acoustic and electric guitar respectively, with Caamaño contributing on tastefully incorporated vocals. Lorie Gruneisen plays violin and David Katz provides a solid foundation on upright bass. At this particular performance, Beth Robinson joined on the cello. Occasionally, Matt Bullwinkel also joins in on accordion. The group has been together for about five years, adding members through the years. "It's a great pleasure to share our music. We get excited about it and hope others do too. I get a great charge out of performing for an audience," said Caamaño.
The musical genre of gypsy jazz has seen somewhat of a revival in the past few years with indie-folk musician Andrew Bird and the film The Triplets of Belleville. Gypsy jazz is characterized by its simple melodies, syncopation, emphasis on the second and fourth beat of each bar and chromaticism.
The group performed an eclectic mix of jazz standards and gypsy tunes popularized by gypsy jazz forbearer Django Reinhardt and contemporary artists such as Biréli Lagrène and Dorado Schmitt. The namesake of the group is actually a song by Django Reinhardt, "Minor Swing," which the group performs. They cite other influences as Le Quartet du Hot Club de France (Django's group), Robin Nolan, and Pearl Django. During the performance, each musician got a chance to improvise. The musicians worked extremely well together, creating vivid vignettes within each song. The music was sometimes upbeat and sometimes mellow, but always enjoyable. The only thing that seemed to be missing was the sultry sound of a small drum kit played with brushes.
La Casbah has clearly established itself as a viable music venue in Potsdam, and this was yet another successful show. Music lovers enjoy the atmosphere and extensive bar. The large room has the versatility to accommodate intimate sit-down gatherings like this one and bigger events with lots of loud music and dancing.
Several attendees were there solely for the music, but most just let the music compliment and improve their otherwise ordinary Thursday night out. Nigh midnight, the older crowd had filtered out and those who remained were rowdy and disrespectful students, clearly there for the drinks.
Minor Swing is in the midst of recording their first CD. The group performs quite often in the Potsdam area. They have another engagement at La Casbah on December 19, at which they will also perform some Christmas music.
Minor Swing is composed of four permanent members. Founding members Christopher Brown and Victor Caamaño play acoustic and electric guitar respectively, with Caamaño contributing on tastefully incorporated vocals. Lorie Gruneisen plays violin and David Katz provides a solid foundation on upright bass. At this particular performance, Beth Robinson joined on the cello. Occasionally, Matt Bullwinkel also joins in on accordion. The group has been together for about five years, adding members through the years. "It's a great pleasure to share our music. We get excited about it and hope others do too. I get a great charge out of performing for an audience," said Caamaño.
The musical genre of gypsy jazz has seen somewhat of a revival in the past few years with indie-folk musician Andrew Bird and the film The Triplets of Belleville. Gypsy jazz is characterized by its simple melodies, syncopation, emphasis on the second and fourth beat of each bar and chromaticism.
The group performed an eclectic mix of jazz standards and gypsy tunes popularized by gypsy jazz forbearer Django Reinhardt and contemporary artists such as Biréli Lagrène and Dorado Schmitt. The namesake of the group is actually a song by Django Reinhardt, "Minor Swing," which the group performs. They cite other influences as Le Quartet du Hot Club de France (Django's group), Robin Nolan, and Pearl Django. During the performance, each musician got a chance to improvise. The musicians worked extremely well together, creating vivid vignettes within each song. The music was sometimes upbeat and sometimes mellow, but always enjoyable. The only thing that seemed to be missing was the sultry sound of a small drum kit played with brushes.
La Casbah has clearly established itself as a viable music venue in Potsdam, and this was yet another successful show. Music lovers enjoy the atmosphere and extensive bar. The large room has the versatility to accommodate intimate sit-down gatherings like this one and bigger events with lots of loud music and dancing.
Several attendees were there solely for the music, but most just let the music compliment and improve their otherwise ordinary Thursday night out. Nigh midnight, the older crowd had filtered out and those who remained were rowdy and disrespectful students, clearly there for the drinks.
Minor Swing is in the midst of recording their first CD. The group performs quite often in the Potsdam area. They have another engagement at La Casbah on December 19, at which they will also perform some Christmas music.
Songswithoutwords' top 5 albums of 2008
There are only 5 because that's all the room the Racquette could afford!
Emilyn Brodsky – Greatest Tits
Eclectic New York City songwriter and self-proclaimed cupcake punk Emilyn Brodsky won my heart this year with her first official CD release, Greatest *its. Written over a long period of time, she finally transformed her quiet ukulele tunes into rambunctious, fully fleshed out songs. The lyrics are poignant, sassy and cute. Her backup band is a sort of “who’s who” of the New York indie music scene, and talent abounds.
Vampire Weekend – Vampire Weekend
Perhaps the most appealing thing to me about this album is how clearly it hearkens back to Paul Simon’s Graceland (1986). It’s got the catchiest hooks of the year; almost every song is infectuous. Part of the interest evoked from the album is in its diverse instrumentation, including ethnic drums, clean electric guitar sound, and a ubiquitous mellow keyboard sound.
Girl Talk – Feed the Animals
Although Greg Gillis simply borrows samples and mashes them together to make something new, this is one of the most original albums of the year. In the all-inclusive dance party that is Feed the Animals you can get your groove on to everything from T.I. to Twisted Sister, from Radiohead to Jay-z. It’s the perfect party album.
Dr. Dog – Fate
I was introduced to this album late in the year, but was instantly won over by the Beach Boys-esque harmonies and Beatles-esque hooks. Throw in the occasional grooving beat and you’ve got something worth 100 listens. This band uses timeless formulas that work.
The Hold Steady – Stay Positive
It would be out of character for me to leave my favorite rock ‘n’ roll band off of my top albums list. The band makes their intentions clear from the get-go with “Constructive Summer,” a song about making things happen, that defined my summer and beyond. With riff after riff and more of Craig Finn’s almost-indulgent storytelling, Stay Positive is a 2008 standout. This album has yet to leave my car stereo.
Albums I had to reluctantly cut: Fleet Foxes, O'Death, The Last Shadow Puppets, The So So Glos, The Spinto Band, Super XX Man, Noah and the Whale, Okkervil River, The Mountain Goats, The Miniature Tigers, Blitzen Trapper.
Emilyn Brodsky – Greatest Tits
Eclectic New York City songwriter and self-proclaimed cupcake punk Emilyn Brodsky won my heart this year with her first official CD release, Greatest *its. Written over a long period of time, she finally transformed her quiet ukulele tunes into rambunctious, fully fleshed out songs. The lyrics are poignant, sassy and cute. Her backup band is a sort of “who’s who” of the New York indie music scene, and talent abounds.
Vampire Weekend – Vampire Weekend
Perhaps the most appealing thing to me about this album is how clearly it hearkens back to Paul Simon’s Graceland (1986). It’s got the catchiest hooks of the year; almost every song is infectuous. Part of the interest evoked from the album is in its diverse instrumentation, including ethnic drums, clean electric guitar sound, and a ubiquitous mellow keyboard sound.
Girl Talk – Feed the Animals
Although Greg Gillis simply borrows samples and mashes them together to make something new, this is one of the most original albums of the year. In the all-inclusive dance party that is Feed the Animals you can get your groove on to everything from T.I. to Twisted Sister, from Radiohead to Jay-z. It’s the perfect party album.
Dr. Dog – Fate
I was introduced to this album late in the year, but was instantly won over by the Beach Boys-esque harmonies and Beatles-esque hooks. Throw in the occasional grooving beat and you’ve got something worth 100 listens. This band uses timeless formulas that work.
The Hold Steady – Stay Positive
It would be out of character for me to leave my favorite rock ‘n’ roll band off of my top albums list. The band makes their intentions clear from the get-go with “Constructive Summer,” a song about making things happen, that defined my summer and beyond. With riff after riff and more of Craig Finn’s almost-indulgent storytelling, Stay Positive is a 2008 standout. This album has yet to leave my car stereo.
Albums I had to reluctantly cut: Fleet Foxes, O'Death, The Last Shadow Puppets, The So So Glos, The Spinto Band, Super XX Man, Noah and the Whale, Okkervil River, The Mountain Goats, The Miniature Tigers, Blitzen Trapper.
Friday, November 28, 2008
Week in Review
Here's a new feature I thought of while stuck in traffic today and listening to Sound Opinions. Since one of the only things I can figure on talking about is myself, I'm going to write a blurb about what I'm listening to and thinking about music-wise each week. This might be a good idea since writing about concerts is an opportunity that only comes along every once in a while. Now that I have a last.fm again, I find myself thinking about trends in my listening.
Despite how much I love punk and rock bands, I've found myself seriously drawn to singer-songwriters lately. Paul Simon and Cat Stevens are the most important to me, for some reason. Paul Simon's Graceland resonated with me for a while, and I just recently began exploring the remainder of his back-catalogue. Even the songs that don't stand out on each album are better than anything I could write. Cat Stevens' music is all charming. Venturing beyond the songs featured on the cult dark comedy Harold & Maude soundtrack, Stevens has these folk rock songs that are not only catchy but powerful.
I listened to "Baby, It's Cold Outside" about 10 times straight today, to learn the guy part, and boy, what a saucy song.
I reached the epitome of my respect for composer Percy Grainger this week when I had to conduct "Horkstow Grange," a movement from Lincolnshire Posy on Monday. He has a unique compositional style the breaks conventions but is still seriously listenable. This could be a true tool for breaking down barriers for students and stubborn adults into listening to art music.
OK readers, be honest. Did this post make me sound like a pretentious ass?
Sunday, November 09, 2008
The World/Inferno Out-of-Town Friendship Society
Saxophonist Peter Hess and singer Jack Terricloth, both bearing with maniacal grins, stepped to the front of the stage to greet the undulating crowd. With three drum sticks between them, they joined drummer Brian Viglione in pounding out the opening beat to "Tattoos Fade"—The World/Inferno Friendship Society's call-to-arms—on a well-worn tom tom. Snarlingly reminding the audience that they'd "do better living more and commemorating less," Jack Terricloth inspired spontaneity in the pit.
When you've only seen a band or musician in their hometown (which for this band encompasses all of Brooklyn, Manhattan, and New Jersey), it's a revealing experience to witness an out-of-town gig. Thursday night was no exception. The band played a relentless set of songs both new and old, touching upon "M is for Morphine," "I Remember the Weimar," "Everybody Comes to Rick's," Thumb Cinema," "Addicted to Bad Ideas," all from the 2007 release Addicted to Bad Ideas: Peter Lorre's Twentieth Century. Older favorites were also played, including greatly received "Just the Best Party," "My Ancestral Homeland, New Jersey," "Jeffrey Lee," "Paul Robeson," and "Brother of the Mayor of Bridgewater" were just a few of those older favorites. While most of the fans knew the words to those songs, many of them were stumped when it came to the VERY old stuff..."All the World is a Stage(dive)" didn't garner any audience stage dives (for fear of getting kicked out), but Terricloth did throw himself onto the stage mid-song. The highlight of the show for me, personally, was "Cats are Not Lucky Creatures," a song about resiliency and independence as represented by the demeanor of cats. Although many of the kids didn't seem to know the classic, they shockingly screamed the lyrics of other songs along for most of the night.
The night saw more fancy stick-work from Hess and Terricloth, who synchronized a sort of drum hit-stick hit (like checking swords) in time to the intro of "M is for Morphine." The band was clearly more involved than they can be at hometown shows, which is ironic. Jack Terricloth's usually profound between-song banter was unfortunately watered-down by his inebriated state. Although missing the familiar handlebar mustache of Franz Nicolay, the group sufficiently compensated with newcomer Matt Landis, a menace at the keyboard. The Dresden Dolls' Brian Viglione powerfully filled the role of drummer and brought a whole new level of celebrity to the band.
The final question that arises from this experience you might ask would be, "Miss Harrison, was it worth it to drive three stinking hours each way to see a band you've already seen five times before?" And I would answer as such. "How anyone could turn down an opportunity to have the religious experience that is a World/Inferno show is beyond me. It's more than a band, it's a way of life. Sign the f*ck up."
Fourteen ways to live your life more like a pirate
As published in the 11/7 issue of The Racquette.
The band explores lots of different bluegrass instruments, from banjo to fiddle, in addition to their traditional rock band line-up. Other instruments that sometimes appear on their recordings are ukulele, piano, trombone, and euphonium. The textures they are able to produce through this juxtaposition of styles are incomparable to most other punk fusion bands.
Their influences lie in the songs of Appalachia, gospel music and punk vivacity. Their "olde tyme" poster art and aesthetic adds to their appeal and individuality, while their snarling stage presence defines their image. It is refreshing to find a band that has established its own new aesthetic based on traditional sources.
Broken Hymns, Limbs and Skin truly takes the listener into a different time and different mindset. The feel of Appalachian folk music underlying their original songs is not only anachronistic to most listeners, but haunting by nature.
Growing in prominence in several punk and alternative circles, O'Death has shared stages with Beat Circus, Death Vessel, Humanwine, Hoots & Hellmouth and Takka Takka. They recently embarked on a 34-date tour in support of Broken Hymns, Limbs and Skin.
If you are in the mood for something frantic, something passionate, something unusual and disturbing, or something that compels you on a gut level to get up, dance, and break things, you should listen to O'Death. There is not a single weak track on this album. Listen for it on SUNY Potsdam's radio station, WAIH "The Way" 90.3FM in the coming weeks.
"Non-required" anthology provides reading solution for overworked college students
As printed in the 11/7 issue of The Racquette.
The latest installment in a series that has run since 2002, BANR is compiled by author Dave Eggers and high schoolers of the San Francisco Bay Area. They spend each year reading through respected literary journals, quarterlies and magazines, ultimately deciding on the best stories-a pile of hundreds that gets whittled down into the final published anthology.
BANR 2008 features an introduction by Judy Blume, a retrospective on Kurt Vonnegut's lifetime of writing, a piece about Bill Clinton's post-presidential life as an activist, a story on how one of the world's most renowned violinist performed unnoticed in a D.C. metro station, and several particularly jarring stories about the search for one's origins and identity.
Short fiction and short creative non-fiction, the two genres presented in this anthology, are by far the most accessible genre to college-aged students. Each story is engaging and insightful, yet still delivered in a size that hard-working college students can easily swallow. Short writing does not require a huge emotional and time commitment, but is still satisfying and amusing.
This anthology moves along at a fairly rapid pace, with very few lengthy pieces. If one piece in particular isn't appealing, it is simple to skip ahead to something more exciting. Any of the stories in it that seemed slow-moving at first eventually picked up and gained depth, eventually becoming enjoyable reads. Like previous BANR anthologies, this one has a little something for everyone.
One of the aims of the committee that chooses the pieces which get published is to increase exposure for up-and-coming writers. Although familiar names such as Stephen King are represented this year, most of the contributing writers in this anthology are newcomers to the field. Past contributors include Chuck Klosterman, David Sedaris and Huruki Murakami. For those who have more time to explore the sources (journals) and authors from the anthology, it is a good chance to see who is currently shaping the field of short fiction and non-fiction. Perhaps you'll discover a new favorite author, or at least one of note whom you may hear from in the future.
The editor of the series, Dave Eggers, was once a newcomer not unlike many of the featured authors. Through inclusion in literary journals he gained popularity and has since published successful books such as A Heartbreaking Work of Staggering Genius and What is the What.
The number one thing that assures me that most college students will be able to appreciate this is that the pieces are chosen by high schoolers. If they can find modern literature and creative non-fiction appealing, I am confident that college students also can.
If you have a free half hour between classes, or even just a few minutes before you drift off to sleep, pick up The Best American Non-required Reading 2008. Who knows; you may find a new favorite author or rekindle your love for reading.
Preview of a Show that Happened 2 Months Ago
Just for people who like to read my writing...just for posterity...just because I've been lazy for the bulk of the semester...
On Saturday, September 20, Hurley's is hosting a triple bill of extremely talented musicians from New York City. Franz Nicolay, Emilyn Brodsky, and Emily Hope Price will take the stage in Hurley's for several hours of diverse entertainment. The show is sure to appeal to both those interested in indie songwriters as well as those who currently study music and are curious to see what versatile results a music degree can inspire.
Franz Nicolay is currently the keyboardist for The Hold Steady, a critically acclaimed rock band that has recently performed on Late Night with Conan O'Brien, Late Show with David Letterman, and The Late Late Show. The multi-instrumentalist tours year-round with The Hold Steady-playing over 200 shows annually-but still finds time to dedicate to performing his solo material. His set on Saturday will consist of original songs performed both on guitar and accordion, part of his trademark style. He trained in New York University's jazz composition program and brings his own twist to both traditional and avant-garde songwriting.
Emilyn Brodsky is a sharp-tongued ukulele-playing cupcake punk. Her songs are smart and witty, filled with complex emotions, and, depending on the personnel, tight vocal harmonies. As a "cupcake punk" she is a strong believer in the Do It Yourself (DIY) ethic, and brought that consciousness to her new album, which features the combined efforts of her musician friends, producers and artwork designers. Emilyn Brodsky's Greatest *its boasts full band arrangements of many of the catchy, fun, and emotionally tumultuous songs she will perform in Hurley's. When she isn't playing originals, her repertoire of covers includes songs by The Mountain Goats, The Long Winters, The Magnetic Fields, and 60s girl groups.
Emily Hope Price is an extremely versatile musician, popular in the Anti-Folk scene in New York City. Although she received a master's degree in classical cello performance from Carnegie Mellon University, her true interests lie in improvisation and composing. She brings new depth to cello performance by adding many effects such as looping, distortion, sampling, and improvising on the spot.
Hurley's is clearly branching out into booking more diverse and talented musicians this semester. This show will appeal to even the most critical listeners. Check it out if you enjoy: The Hold Steady, Billy Bragg, Mirah, Joanna Newsom, Regina Spektor, or Belle & Sebastian.
On Saturday, September 20, Hurley's is hosting a triple bill of extremely talented musicians from New York City. Franz Nicolay, Emilyn Brodsky, and Emily Hope Price will take the stage in Hurley's for several hours of diverse entertainment. The show is sure to appeal to both those interested in indie songwriters as well as those who currently study music and are curious to see what versatile results a music degree can inspire.
Franz Nicolay is currently the keyboardist for The Hold Steady, a critically acclaimed rock band that has recently performed on Late Night with Conan O'Brien, Late Show with David Letterman, and The Late Late Show. The multi-instrumentalist tours year-round with The Hold Steady-playing over 200 shows annually-but still finds time to dedicate to performing his solo material. His set on Saturday will consist of original songs performed both on guitar and accordion, part of his trademark style. He trained in New York University's jazz composition program and brings his own twist to both traditional and avant-garde songwriting.
Emilyn Brodsky is a sharp-tongued ukulele-playing cupcake punk. Her songs are smart and witty, filled with complex emotions, and, depending on the personnel, tight vocal harmonies. As a "cupcake punk" she is a strong believer in the Do It Yourself (DIY) ethic, and brought that consciousness to her new album, which features the combined efforts of her musician friends, producers and artwork designers. Emilyn Brodsky's Greatest *its boasts full band arrangements of many of the catchy, fun, and emotionally tumultuous songs she will perform in Hurley's. When she isn't playing originals, her repertoire of covers includes songs by The Mountain Goats, The Long Winters, The Magnetic Fields, and 60s girl groups.
Emily Hope Price is an extremely versatile musician, popular in the Anti-Folk scene in New York City. Although she received a master's degree in classical cello performance from Carnegie Mellon University, her true interests lie in improvisation and composing. She brings new depth to cello performance by adding many effects such as looping, distortion, sampling, and improvising on the spot.
Hurley's is clearly branching out into booking more diverse and talented musicians this semester. This show will appeal to even the most critical listeners. Check it out if you enjoy: The Hold Steady, Billy Bragg, Mirah, Joanna Newsom, Regina Spektor, or Belle & Sebastian.
Friday, August 22, 2008
Just a few notes about my life in music, recently
The main place that I listen to music is while I'm on the computer and, well, my sound driver is busted. Something's wrong with the inner workings that makes everything sound like crap, and skip, and slow down. So, unfortunately, I've listened to less new music than I wanted to this summer.Luckily, for my birthday last week I received a brand new pair of Sennheiser over ear headphones, which make music sound absolutely glorious. Needless to say, I've been catching up on summer releases in a proper manner, starting with Stay Positive, of course.
So, despite all of these occurrences, I think that I owe my blog a few decent posts, and I'll certainly be getting to them when I get back to school. WAIH has a stack of just about 300 CDs waiting for my anxious ears. Expect posts in the coming weeks of a least first impressions of the recent releases from The Hold Steady, Emilyn Brodsky, Conor Oberst, The Walkmen, Randy Newman, Tilly and the
Wall, The Ting Tings, and Fleet Foxes. And those are just the ones I'd really like to review. So, make sure I keep my word on this one. There's a whole list of CDs I'd like to get 
around to listening to thoroughly and writing about, but we'll see.
I should also write about the shows I've gone to in the past two weeks. Perhaps I'll sit here and blog deep into the night on the eve before moving back to college.
Once I'm back, you'll be able to catch my radio show, Ginger Ale & Apathy THREE times a week. Mondays 2-3pm, Wednesdays & Fridays 6-7pm. www.theway903.com / 90.3FM ... I'm looking at setting up some in-studio interviews and guest DJs both in real life and via Skype! It'll be a fun semester. I'll also be writing for The Racquette again, and as usual I'll post any of my articles directly on this blog.
Stay tuned!
The Way 90.3FM
http://www.theway903.com
The Racquette
http://www.theracquette.com
http://www.theway903.com
The Racquette
http://www.theracquette.com
Wednesday, July 09, 2008
We're Gonna Build Something This Summer
On June 29, 2008, boys and girls from all over America (quite literally) came together to see the exuberant Hold Steady in their hometown and the open air.
The McCarren Park Pool venue is a unique one, to be certain. The once-pool has been out of use for quite some time, and some promoters over at JellyNYC thought it would be a fitting place to set up a stage and invite a couple of thousand people out to play and hear great music. The show was free, as are most of the Pool Parties, and concertgoers were discouraged by neither heavy showers, lightning, nor thunder. Apparently there is absolutely nothing that can get The Hold Steady's fans down--especially not when they know they are just moments away from seeing their favorite band.
The Hold Steady has enjoyed a constant ascent to the top of the indie rock scene over the past several years, recording four albums along the way. Each album has its own characters and stories, but the messages remain the same. Guys go for looks, girls go for status. You can make him like you. Certain songs get scratched right in your soul. Ya gotta stay positive. It is those simple truths that have garnered the band a huge following. Maybe not huge in size compared to say, Radiohead's fan base, but huge in spirit, comraderie, and passion. The Unified Scene travels from all over to meet up at shows, with matching shirts that certain scene members front the money for, to have a couple of drinks or talk music with each other - everyone with the same thing in common - love for a band that has truly impacted their lives. At any Hold Steady show you can bet that you will see a bunch of nerds in matching shirts, forced forward into the stage or barrier, shouting lyrics and getting a glimmer in their eyes at the beginning of each song. The Unified Scene certainly made a strong showing at June 29th's Brooklyn show.
When the band took the stage, it was like coming home again. There is comfort in finding a band -and a scene- that makes you feel like you are home at last. The cheers were overwhelming. The setlist was absolutely conflagerant. Almost every track from the forthcoming CD, Stay Positive, and plenty of crowd pleasing back catalogue songs. With the sun just coming out after a rough day in torrential rain, there was a certain something in the air that infected everyone present-in a positive way of course. Screaming lyrics up to the stage with arms outstretched to embrace and be a part of something bigger, The Hold Steady's biggest fans exuded energy that enchanted press photographers, who took as many photos of the fans as they did of the band.
The entire band was on. Every song was performed to its fullest, with each band member feeding off of the crowd's energy in his own way. Close your eyes and imagine if you will: Craig Finn: spitting and ranting and singing, moving around the stage to have little dialogues in pantomime with the crowd. Tad Kubler: humbly accepting birthday wishes, rock solid soloing, facile fingers and a double-necked guitar. Galen Polivka: slumped and sweating, pounding out basslines with precision and animation, adding something new to each song. Franz Nicolay: shouting, grimacing, smiling, stomping, spinning, dancing, and making eye contact and singing with the fans. Bobby Drake: an anchor to the entire band, creating the entire texture of every song from the bottom up, blindingly precise beats. Seriously serious musicians. Friends and colleagues. It is pretty clear that not only do each of these men know exactly what they are doing, but they do it damn well together. The chemistry is incomparable.
In an interview just yesterday, The Hold Steady's frontman and lyricist, Craig Finn, said this, "Do I believe in the redemptive power of rock'n'roll? Absolutely. At its peak, played with the best intentions, it can be transcendent." Inadvertantly, Finn described the experience that the Unified Scene undergoes at every show, every venue, in every city, state, and country. As they start a huge tour again (after 200 shows last year), hitting Europe and the states, I once again encourage you not to miss it. It is truly one of the most euphoric things that a music lover can experience.
The McCarren Park Pool venue is a unique one, to be certain. The once-pool has been out of use for quite some time, and some promoters over at JellyNYC thought it would be a fitting place to set up a stage and invite a couple of thousand people out to play and hear great music. The show was free, as are most of the Pool Parties, and concertgoers were discouraged by neither heavy showers, lightning, nor thunder. Apparently there is absolutely nothing that can get The Hold Steady's fans down--especially not when they know they are just moments away from seeing their favorite band.
The Hold Steady has enjoyed a constant ascent to the top of the indie rock scene over the past several years, recording four albums along the way. Each album has its own characters and stories, but the messages remain the same. Guys go for looks, girls go for status. You can make him like you. Certain songs get scratched right in your soul. Ya gotta stay positive. It is those simple truths that have garnered the band a huge following. Maybe not huge in size compared to say, Radiohead's fan base, but huge in spirit, comraderie, and passion. The Unified Scene travels from all over to meet up at shows, with matching shirts that certain scene members front the money for, to have a couple of drinks or talk music with each other - everyone with the same thing in common - love for a band that has truly impacted their lives. At any Hold Steady show you can bet that you will see a bunch of nerds in matching shirts, forced forward into the stage or barrier, shouting lyrics and getting a glimmer in their eyes at the beginning of each song. The Unified Scene certainly made a strong showing at June 29th's Brooklyn show.
When the band took the stage, it was like coming home again. There is comfort in finding a band -and a scene- that makes you feel like you are home at last. The cheers were overwhelming. The setlist was absolutely conflagerant. Almost every track from the forthcoming CD, Stay Positive, and plenty of crowd pleasing back catalogue songs. With the sun just coming out after a rough day in torrential rain, there was a certain something in the air that infected everyone present-in a positive way of course. Screaming lyrics up to the stage with arms outstretched to embrace and be a part of something bigger, The Hold Steady's biggest fans exuded energy that enchanted press photographers, who took as many photos of the fans as they did of the band.
The entire band was on. Every song was performed to its fullest, with each band member feeding off of the crowd's energy in his own way. Close your eyes and imagine if you will: Craig Finn: spitting and ranting and singing, moving around the stage to have little dialogues in pantomime with the crowd. Tad Kubler: humbly accepting birthday wishes, rock solid soloing, facile fingers and a double-necked guitar. Galen Polivka: slumped and sweating, pounding out basslines with precision and animation, adding something new to each song. Franz Nicolay: shouting, grimacing, smiling, stomping, spinning, dancing, and making eye contact and singing with the fans. Bobby Drake: an anchor to the entire band, creating the entire texture of every song from the bottom up, blindingly precise beats. Seriously serious musicians. Friends and colleagues. It is pretty clear that not only do each of these men know exactly what they are doing, but they do it damn well together. The chemistry is incomparable.
In an interview just yesterday, The Hold Steady's frontman and lyricist, Craig Finn, said this, "Do I believe in the redemptive power of rock'n'roll? Absolutely. At its peak, played with the best intentions, it can be transcendent." Inadvertantly, Finn described the experience that the Unified Scene undergoes at every show, every venue, in every city, state, and country. As they start a huge tour again (after 200 shows last year), hitting Europe and the states, I once again encourage you not to miss it. It is truly one of the most euphoric things that a music lover can experience.
Thursday, June 19, 2008
These songs, they get so scratched into our souls
Another music ramble. Bear with me for some true content coming soon...
Summer memories always seem to be the most saturated with music. I can remember the exact order of tracks on a mix CD I used to listen going back and forth to summer camp; bands who played shows in our small venues; and songs I listened to in the solitude of my air conditioned bedroom. For some reason my brain is like a sponge during the summer, and each song takes on twice as much meaning. When I was going into 11th grade, an English teacher who I was close with loaned me a cassette of The Smiths' Greatest Hits, and I can't listen to that band without thinking of that summer. I hope that this summer can be equally steeped in musical memories..
Summer memories always seem to be the most saturated with music. I can remember the exact order of tracks on a mix CD I used to listen going back and forth to summer camp; bands who played shows in our small venues; and songs I listened to in the solitude of my air conditioned bedroom. For some reason my brain is like a sponge during the summer, and each song takes on twice as much meaning. When I was going into 11th grade, an English teacher who I was close with loaned me a cassette of The Smiths' Greatest Hits, and I can't listen to that band without thinking of that summer. I hope that this summer can be equally steeped in musical memories..
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