Cindal Says

New York Guitar Festival, Thursday January 21st 2010. Justin Vernon, Chris Rosenau, Steve Kimock perform Silent Film/Live Guitars

The New York Guitar Festival went off without a hitch this past Thursday night at the Kaufman Center in New York City. In its second week the festival proved to hold its vitality: selling out the Merkin Concert Hall forSteve Kimock and Justin Vernon’s performance of Silent Films/Live Guitars.  

This specific performance stood apart from the rest of the three week long festival. Previews speculated that may be because of Justin Vernon and Steve Kimock’s performances. Justin Vernon, as most of contemporary music followers know by now, is the man behind Bon Iver, whose album For Emma Forever Ago garnished respect from the indie-folk world in 2008. Added to that excitement, was Steve Kimock, founder of the San Francisco band Zero and famed for having played alongside some of music’s most recognized guitarists as Bruce Hornsby and The Grateful Dead.

It seemed both performers were offered a +1 for the evening’s scores. Justin Vernon was accompanied by his band mate fromVolcano Choir and long time friend Chris Rosenau. Chris Rosenau has been referred to by Justin as his “guitar mentor”, rightfully so; Chris’s participation in his band Collections of Colonies of Beesproves his dubbed title.

Steve Kimock kept it in the family, performing with his son John Morgan Kimock. John played the drums right alongside his father for the whimsical score set to Buster Keaton’s Cops. 

The show began shortly after 8 p.m.; John Schaefer (WNYC’s New Sounds presenter) set the tone, approaching the stage in jeans and with a bountiful smile. He announced Steve Kimock’s legacy and scurried through the small talk. Steve Kimock and his youthful son quickly began. The movie scrolled onto the screen; Steve and John scored Buster Keaton’s Cops with fragility and euphemism. The movie, a short one, spanning only 18 minutes, which one would imagine for the musicians is quite a long time. That certainly tops “Free Bird” for time played straight through on one song!  

Photography: Greg Notch

The Kimock’s thanked the audience and then was relieved by Chris Rosenau and Justin Vernon. Rosenau, a guitar perfectionist, made absolutely sure all his guitars were in perfect tune. Even making a verbal note, that he had tuned that same guitar multiple times through the day; it had to be just right. Once the motions came indicating both musicians were in tune and ready to rock — the first movie began, Easy Street.This performance was different. It wasn’t just a concert.  I say that in part to the collaboration of its entire meaning, Silent Films/Live Guitars. Charlie Chaplin’s films have never before produced to an audience with music of this caliber. So to witness such scenes from 1917, filmed in the poorest, most desolate area’s of town,really began to put the movie into more of a dramatic perspective. Chaplin’s shtick is comedy,  that is how he is foremost remembered. But what I feel not many understand is the seriousness being portrayed through these films. I feel the scores written for these performances, brought out the emotion ultimately through the music.  

These films, once most utterly one dimensional, are now breathing, causing laughter and soliciting nostalgia at its best. The final movie Vernon and Rosenau performed to was One A.M., unto which Justin Vernon upon trying to briefly describe its synopsis, simply said “Not unlike many nights we’ve known, you’ll see…”

The film spanned 34 minutes of Charlie Chaplin almost entirely solo, in a room of malevolent props from which his inebriation keep him nomadically arguing with.Quirky and comical the scores set to each of these films were as majestic and unique as promised. The dignity that has been portrayed through these performances set to Charlie Chaplin’s classic films will be as time-honored as the films themselves.   

I did get a wonderful chance to sit down and chat with Chris Rosenau about the New York Guitar Festival prior to their performance Thursday night:

 How did the opportunity to play New York Guitar Festival come to you? Was it first approached to Justin Vernon and he invited you along?  

Yes that’s exactly how it came about actually! They approached him almost a year ago. He wasn’t super into the idea of doing it himself, but he really thought it would be fun to do with someone, so he emailed me right away and asked if I’d be into it. Of course, I was. We super into the idea, and this was right before we started watching Charlie Chaplin movies, like assuming that it would be really easy to do, and it turned out to be not very easy.

The influence of instrumentals is popularly evident throughout both you and Justin’s music, both with Volcano Choir and Collection of Colonies of Bees. So it would seem that an opportunity like this Silent Films/Live Guitars is absolutely perfect for the both of you.  

I think conceptually it was to me as it is to him. There was a matter of three months in there when the both of us were like pulling our hair out, thinking, like what the hell have we gotten ourselves into.

Now it states that Justin Vernon refers to you as his “Guitar Mentor.” How did that come about?

Ya know, I have no idea, I know Justin, and we kind of met because his former band DeYarmond Edison was really into a record that my band Collections of Colonies of Bees had done called Customer, and I know those guys were just  bananas for that record for whatever reason. He digs the way that I play and it’s just really nice that he calls me that. I am super flattered, and I don’t know that many people know this about him, because For Emma is genius but it doesn’t have a lot of technical guitar stuff on it, or whatever you want to call it, ya know what I mean?

Right it’s very simple.  

It’s misleadingly simple, and there are a lot of complex things going on with melodies, and he’s really just an amazing guitar player.  

The New York Guitar Festival and its performers were most spectacular and certainly respected for this wonderful presentation. David Spelman, curator of the Festival deserves many thanks for the creativity and talent that has brought about such a historical performance.  

Per your request.

Persistent people begin their success where others end in failure.

Edward Eggleston

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History has demonstrated that the most notable winners usually encountered heartbreaking obstacles before they triumphed. They won because they refused to become discouraged by their defeats.

Bertie C. Forbes

This is how you progress into a good hook.

Concert Review: Ray Lamontagne @ The Citi Performing Arts Center, Boston 11/4

In every aspect, in every way you could imagine, Ray Lamontagne is imperiled by his own talent. There has rarely been a performance as emotional and painstakingly touching as the one he gave on November 4 at the Citi Performing Arts Center in Boston. Of all the concerts I've seen in my lifetime, Ray Lamontagne places in the top three, teetering between first and second. The passion contained within his performance — his lyrics, his persona, everything down to the length of his folkish beard — completely envelopes the audience. The 3600+ seat theater was completely sold out, and the audience was seemingly left in a state of awe.

cindallee at 2009-11-16

Ray is known widely for his lack of communicative performances. He does not give interviews, and you certainly cannot meet the man. Other than his mass of talent, I think that really gives his fans that strange feeling of attachment to him. The impossible, the mystery, that feeling of complete detachment — oddly enough this seems to draw his fans in closer. Entirely through his music he is able to communicate the deepest emotions I have ever felt being projected unto an audience, those of hurt, fear, and supreme love. His lyrics and his presence instill a unique sense of creativity and emotion upon the fans he touches. His voice is downright haunting, much in the same way Ray Charles left his mark on our musical lifetime. Some of the strongest pairings of soul and absolute talent can not only be found amongst his three albums, but above all in in his live performances.

In my own opinion, as well as that of many other fans I have spoken with, it comes across that Ray is one of those artists who is almost incomparable to other singer-songwriters in his genre. However, in some accounts I have come across, others have mentioned him as being somewhat like our generation's Bob Dylan. Some have even stated that he could be placed in the same arena as a slightly more soulful Cat Stevens.

cindallee at 2009-11-16

I could go on here, telling you all about Ray Lamontagne — where he comes from and the life he has led — and the irony that has placed him on a concert stage in a cowboy hat with just an acoustic guitar and memories of words banked together so remorsefully they could break the hardest soul. But in a moment — a simple moment of a guitar chord played so heavily, yet with so much caution — all such information becomes obsolete.

With Ray it truly is all about the music. His dark, dismal, and somber persona can be compared to Trent Reznor. Now I know his music hasnothing to do with Nine Inch Nails, but one cannot deny the comparison of two brilliant artists who carry that same form of depersonalization — it's almost as if you don't need to know either man behind the mask. It’s the mystery behind them that makes it what it is. The music is all it's about, which is exactly what Lamontagne is proving.

But this night was different; on this night, 3,600 people witnessed a new man. Some of us might have called what we saw happiness. He joked, he laughed, and he talked. We all talked — about Bob Dylan, of his favorite songs — together as a family. He went on to state how much of an influence Bob Dylan has been on his music, how he would love to cover even one of his simplest songs but felt it would be disrespectful because he could never measure up to such standards of perfection. So if he were to miss a chord, or fumble a beat, he would never be able to forgive himself. That statement all on its own is as powerful in showing the sincerity and honest appreciation for music as it may ever be.

cindallee at 2009-11-16

As to not leave us without a special association that each and every person in the room could join in on, he summoned a powerful cover of the Bee Gees' "To Love Somebody," explaining that it's one of those songs that totally just gets under his skin. It was absolutly magical.

He stood on the stage—in silence quite often—racking his brain for the right songs to play. You could tell he wanted to leave an impression; he does not leave a show with empty thoughts. It truly seemed Godly; his presence took over, leaving each and every person it touched open and wanting nothing but more. Well, with the exception of the one woman in the crowd who abruptly screamed, “I want to have your babies, Ray!” She may have wanted a little more.

Amidst the head scratching, and the humming of his set list ponderations, he managed to put over quite an array of his songs, dipping into all three of his albums and including a couple of covers as well. His longtime fans were impressed with his song lineup, and even the newcomers were all left satisfied. He played the obscure ones (or rather the ones not featured in dog food commercials), such as "Jolene" off of his first album, Trouble. The song left each fan, old and new, in pieces.

Then in an instant he would lift the corners of everyone's mouths, and wipe the tears off our cheeks by boosting our spirits and playing an enthusiastic rendition of his most popular song, "Trouble," the title track off his first album.

The opening act for Ray Lamontagne shall most certainly not go unnoticed, Dave Gutter, the front man for Rustic Overtones. Gutter is a native of Portland, Maine, the state from which Lamontagne also hails. Dave Gutter appeared on stage, without his band — just a man, and an acoustic guitar, to set the tone that Ray was seeking. Dave normally appears with the full band which I have heard is quite the catch; I will most definitely be taking a trip to Maine in the near future to check them out. Anyone good enough to open up for Ray Lamontagne is worth the gas money.

The most amazing thing was the sensation in the room. It was as if he could have stood on that stage in complete silence, in the dark for hours without saying or singing a word. And with that, the entire place could have been completely content just being in his presence, in awe at the wonder that was before us. But thankfully, we didn’t have to. When I say ‘we’ I say that with a certain purpose. The sense of connection among everyone in the theater was one of the greatest feelings I have ever come to know at a concert. It was complete and ultimate love — it was a sense of looking over at the stranger sitting next to you and nodding your head with bright eyes. By the last song that was played, I found myself holding hands with the boy sitting next to me. I didn’t even have to know his name; the only thing we needed was the unnamed connection we made during “All the Wild Horses.”

cindallee at 2009-11-16
How it is that one man and one simple guitar can provoke so many emotions, at such high volumes, in so many people? It's almost incomprehensible. But it is my understanding that his mass of fans experience this through the simple union of music. Which is what makes him so powerful — everything he seems to portray is as unique as what he embodies.

For instance, the way he made us all feel like we were being let in on a brilliant secret. He explained the back story behind one of his more popular songs, "You Are the Best Thing" off of his most recent album, Gossip In The Grain. He said how the version that is heard on the album today was not the version he intended. This was the way he played it for us — it was stripped down, un-cut, and brilliant — a gem that not many people are witness to, performances like this particular one are rare. I just knew I had to appreciate every second of it. He drew out all of the pain, all of the sorrow, the longing. Ray Lamontagne accomplished what no other man has been able to do — Ray Lamontagne brought tears to my eyes.

I had the most amazing opportunity to meet Mr. Lamontagne. After the show the night was spent standing in a hallway underneath the theater, enjoying the presence of Dave Gutter and his band, as well as Ray Lamontagne. I stood there in silence and awe for a majority of the night. I watched him peel the label off of his San Pellegrino water glass, with eyes as dark and as luminous as a setting sun. We all talked about the musicians who had influenced us the most. All the while, I understood that this night was the pinnacle of my life thus far.

Ray Lamontagne is in the process of wrapping up his fall tour. If you can grab a ticket to catch him, I sincerely urge you to do so. I guarantee you will not be disappointed. I am looking forward to hearing what Mr. Happy will come out with after his next recording session which will take place sometime this February; the next album will be recorded entirely in his living room. He seems to be turning over a new leaf. I cannot wait.

cindallee at 2009-11-16

Published via: Blogcritics.org

Concert Review: Silversun Pickups @ Lupo's in Providence RI

I can still feel the rush of energy, and the sound of bass pumping even now. Silversun Pickups sold out Lupo's Heartbreak Hotel theater. It was so packed people were filing in to the top row of the high-rise balcony. Bodies surrounding the venue seemed much like bundled up wires, fusing their prospects together with beer, and musical anticipation.

As a follow-up 40th Birthday Bash event for local alternative radio station WBRU in Providence RI. It has now been proven that they know how to throw a pretty damn good party! The line-up starting with An Horse, followed by southern-grunge rock group 
Cage The Elephant, headlined by the most anticipated Silversun Pickups.
The venue was not much to talk about — I am sure it was a gem back in its day.
However, for now it's a run down rock venue, which turns into a hip hop club after hours.

So if you can picture the kind of place I am talking about, you'll understand that the scene set practically perfect for this kind of show.

Lupo's was packed, a turn out I had heard some say was the best they'd seen in this place all year. The two opening acts served as a great appetizer for the audience. Getting everyone riled up, but just awful enough to keep them contained for the headliner. (Sorry, but Cage The Elephant was nothing to rant about.)

Hell I went out and bought Carnavas when "Lazy Eye" exploded onto the radio. I am not a super-fan, but I can dig what they offer. The most amazing part about all of this is that I had half expected this show to be a pretty average rated performance.
So maybe my attitude in the beginning set me up to be either totally right or completely blown away. The latter of which I find does not happen on very many occasions with today's music indulgences. So what was to follow was as alarming to me, as it was for much of the audience I am sure.

Silversun Pickups put on a show so consuming, so phenomenal — I was, and still am completely blown away. This was the classic alternative rock show I thought had been buried for many, many years. Prior to this evening - of which nothing short of pure vitality was proven, the great genre that had been lost in between lines of grunge, 90’s alt-rock, and indie became stitched together in the most magnificent of ways. (Think of Smashing Pumpkins) Brian Aubert (lead vocals, guitar) performed volumes, stopping in between songs not to take a breath, but to repeatedly thank the fans. For which, they felt indebted to scream back gratitude's of their own.

Brian carried the show like the sweat pouring off his brow, manifesting vitality in every measure.

Silversun Pickups really know how to leave a lasting impression; they left every person standing on air. Playing all of the favorites as well as some of the new stuff off of Swoon. "Panic Switch" of course made high impact, drawing liters of sweat in from the energetic crowd. "Kissing Families" was my favorite; Silversun performed it as if they were to never play it again. "Lazy Eye" was one of the last of the songs to be played, and as their break-out hit you would expect them to be bored in its performance. But going with the shock & awe theme of the night, again- I was stunned.

However, the glory of the night didn't come from the front-man, or even the beautiful and talented Nikki Monninger (bassist). The highlight of the evening would have to be placed entirely on what happened behind the main act. The place where few onlookers tend to pay attention, the one band member often times left behind. This show made all the exceptions for shadowed out drummers everywhere. The incendiary performance by drummer Christopher Guanlao kept the spotlight illuminating his genuine talent all throughout the night. He proved song, after song his ability to win over the show.
At one point he did what seemed to be a three minute solo; the entire venue left standing still, jaws to the floor in awe. Even his fellow band-mates turned to him in silence and respect. It was like witnessing the national anthem at the beginning of the Superbowl. It was within that moment, my admiration for Silversun Pickups was solidified.

Lest not leave anyone in the dust, I also want to make notice of Joe Lester (keyboards). If it wasn't for him Silversun would not have the pioneering sound that they do. This man is a pedestal for every sound Silversun Pickups processes, a mix-master if you will. Past the bands second encore (yes, second!) following the end of their last song Brian Aubert, and Joe Lester stayed behind on stage. A most unusual rendition of noise, which could be compared to Jimi Hendrix with modern day synthesizers and mix-tables. This whole spectacle left the crowd screaming for more, a solid five minutes after the lights had turned on.

Upon walking in at the beginning of the night, I was merely a music critic with a slight chip on my shoulder. At the end of the night, I was raging with the crowd as well as any fan standing there

Published via: Blogcritics.org

Interview: J.Tillman of Fleet Foxes Talks Solo Album and Tour.

If you plug J.Tillman into the iTunes search query, the genre comes up as alternative country. So that’s what they are calling folk music now? I don’t quite understand all this sub-genre mumbo jumbo; I just call it folk—with a twist. No matter how you categorize his music, however, Josh Tillman has set out to cross paths while keeping his well-rounded scene just that.

On a rather late night to be holding a show on a Sunday, J.Tillman nevertheless filled the upstairs hall at The Middle East in Cambridge, MA. The atmosphere was light throughout the venue as we waited through the opening set by Pearly Gate Music(AKA Zach Tillman, Josh's younger brother), until 11:15pm when Josh hit the stage.

All the while beforehand—to my surprise—Tillman could be seen walking about the venue, checking in with the band and making small talk with a few people. And yet, the majority of those in the room didn’t even recognize him; he was just another awkwardly attractive man with a face covered in fur and a head full of country hair. The sight fit the scene, so really why would have anyone noticed him?

“There is nothing sexy about a guy who’s put out seven albums and nobody's heard any of them,” he told me later that night. And while his statement may ring true now, I am under the impression that with the dawning release of his second LP, Year In The Kingdom, along with his incessant touring (either solo or as the drummer in Fleet Foxes), his unrecognized grandeur is soon to be swooned over.

Tillman is no stranger to folk music, in fact, having nurtured his skills long before his recent stint with Fleet Foxes. His spanning albums—of which there are no shortage—can be compared to the likes of Bon Iver with their crashing, melodic swirl of instrumentals—light and airy, though certainly not lacking in organic emotion.

In a not-so-typical fashion for a folk show, he started off on an acoustic Guild guitar that could have been taken from Grandpa’s attic. Yet as soon as he got underway with dreamy tunes like “Masters House,” off of Vacilando Territory Blues, there was no doubt this man accompanied much the same distinctiveness and vocal clarity as do Fleet Foxes. In fact, his voice could have carried throughout the room without a microphone or an amplifier and they would have been just as pronounced.

Right around the time he got down on his knees and starting crashing items into a gong and shaking random items (such as his car keys) beside the microphone during the breakdown in “Howling Light,” it became quite obvious that folk as we know it had taken a turn toward alternative. Without a doubt we could add another member to Volcano Choir with this type of collaboration, respectively of course.

Amid his crispy, somber-like vocals, his lyrics spoke volumes—even as their meanings were slightly locked behind some obscure biblical references—cloaking them heavily throughout such songs as “First Born,” “Year In the Kingdom,” and “Masters House.” Ultimately, his intense harvest of passion found its way in and around each song he played. To witness folk music composed and performed so fresh yet controlled, it just about makes your body tingle. That is unless J.Tillman’s lustful voice doesn't get to you first.

Following his performance, J. Tillman graciously took some time to speak with me about his music.

How do you manage time between both the bands? Between touring and practice, it must be hectic all the time.

Concert Review: The Avett Brothers at House of Blues (Boston, MA)

The Avett Brothers may not be a household name, and your odds of hearing them on any radio station not on a college campus is very slim. Many Avett Brothers fans, or for that matter any listener involved in the folk scene, may or may not have been twisted out of their seat when they heard that The Avetts' new album I and Love and You was to be produced by none other than Rick Rubin. Well, now… Rick Rubin, this just about changes everything. The man, the legend — notably one of the most celebrated and successful producers of our time — has just come on board and rearranged, reduced and, for lack of a better word, fathered The Avett Brothers' latest record I and Love and You.

Let’s see what happens now. Take these bluegrass, folk-punk, foolish young boys from Concord, North Carolina. Tear them off of their front porch, rip the blade of straw right out of their mouths and put them on the fast track. With a record deal from American Recordings/Columbia Records, now everything is changed. Attach good ol’ Rubin’s name to everything Avett-related and you’ve got solidarity. You’ve got promotion all in one simple step. Hello, Rolling Stone; let’s talk about “Artist to Watch!” Never mind the near decade these brothers have been tossing out records, and touring their Levi’s off in the most respectable of ways. We now have a major label album; we have instruments orchestrated subtly, and lyrics suitable for the likes of the National Public Radio.

Let’s pause. First and foremost I need to make note of the talent and adroitness that these brothers possess. In every sense of the way an artist could have utterly and truly “worked for it,” these guys honorably deserve every bit of success they will and have attained. A certain sensation came over me just a short time after hearing about the Rick Rubin production — that sensation happened as I was standing in line at Starbucks. Not that I wish to attach the words “sold out” to their name, ever! But I can’t help but be somewhat irritated by this. Yep, I and Love and You can officially be purchased alongside your doppio espresso. Well, I guess you know you’ve made it when your album is located right next to the biscotti, and the new Michael Buble CD. What’s next, a guest appearance on The View?

It’s one of those things. Rick Rubin can either ruin your name — or make it.

I and Love and You is pure brilliance; a masterpiece constructed very much the same way an orchestra is developed. Each song is in the perfect slot, every instrument is placed behind the correct theme. The banjo is tuned up, or tuned down according to the acoustic emotion expected. The songs roll on down the album line; pulling you up and in to every sentiment they are trying to portray. Cut as flawless as a diamond, but then again do we expect anything less from Rick Rubin’s record mastering?

The album is a transitioning, not just in their ways as musicians, but as boys growing on into adulthood. It holds all the things any of us have ever felt in our mid-20s and early 30s but didn’t think anyone would understand. This album is the dedication to those years, those feelings translated into songs, so beautifully posed and never before put with such ease. All things concerning love, trust, friends, family, and the struggles within all of those — they are all dealt with here on I and Love and You. The next step is simply to listen.

Everything you thought you knew about The Avett Brothers you realize somewhere down by track seven, you really didn’t know — but you are damn sure learning.

All of this information left me with some feelings of uncertainty. Not so much doubt, but I realized that The Avett Brothers had a lot to prove. If this album were to really resonate as deep as it was meant to sit, I would need to see one hell of a live performance for me to believe all the hype.

Playing to a nearly sold out House of Blues in Boston on a snowy Sunday night, it would seem that neither the day of the week, nor the blustery weather deterred The Avetts from coming in and leaving blood, sweat, and tears up on the stage. The Avett Brothers are not just a duo; the band consists of Seth Avett, Scott Avett, and Bob Crawford. They turned the show into a quartet by adding the very talented cello player Joe Kwon. Nevertheless you would never be able to tell they are not all related, the vibes surging from their performance together was as connected as it ever could be.

The majority of songs off of their new album I and Love and You can be categorized as rather hushed, a slowed-down interpretation of folk-punk if you will, with the exceptions of a few songs such as “Tin Man,” and “Kick Drum Heart.” But alas, the boys did not turn this show into a touring recording studio.

They started the set off with “January Wedding,” the second song off their new album, a beautiful love song, of course at slower tones. Much to my surprise however they threw out the hush appeal and began to really rock once breaking the seal with “Salvation Song.” Playing a generous mix of old and new songs, not one fan in the crowd was left discontented.

The Avett Brothers worked and sweated their entire way through the show, leaving no person in the venue untouched by what they had to offer.They reveal not only their innermost emotions through many of the lyrics in their songs, but also prove that they are not amateurs. Although it may be the first time you are hearing of them, these guys have been around a long time. They have experience, which is proven throughout every moment of their performance.

The brothers often took turns running around the stage, bouncing back and forth from the drum kit, to the banjo, to the Hammond B-3, and back to the guitar. They shared in the vocals with the most eloquent of sounds. The blending of their voices left an amazing complement of resonance — so well it would be hard to picture one without the other. I think that is one of the things I realized about them through their performance. Together they are as strong as an army; they perform the music with such style and creativity. But solo I don’t think they could quite stand on their own without falling down. I would have to say it’s their kinship that allows them to carry out such a remarkable undertaking in their musical endeavors.

As far as communication with the audience, I don’t remember much speaking — they concentrated heavily on not slowing down, performing to tops was their main point. Which I don’t think anyone had much of a problem with. However, when they did speak in between songs it was to thank everyone. Their gratitude was among the most emotional aspect I could feel from them, throughout their music, amid their energy and within their own personal words. That is to me by far the most important thing they left us all with.

By the encore they had everyone so enthralled I had a hard time imagining how we were going to say good-bye. They closed out the set first with “And It Spread” off of I and Love and You, a clever song consisting of down time, and upbeat twists. Leaving everyone off rather right, they closed the whole sequence with “If It’s The Beaches.” Their most favored song off The Gleam, it was pleasant that they closed the set the same way it began, with love. I would doubt if there was one person in the crowd that left that night without a heavy heart.

To conclude I would have to state I am thoroughly impressed. They kept their promise. I guess folk roots don't necessarily become tarnished with a big record deal and a spot on Starbucks counters.

Concert Review: Silversun Pickups at Lupo's Heartbreak Hotel

I can still feel the rush of energy, and the sound of bass pumping even now. Silversun Pickups sold out Lupo's Heartbreak Hotel theater. It was so packed people were filing in to the top row of the high-rise balcony. Bodies surrounding the venue seemed much like bundled up wires, fusing their prospects together with beer, and musical anticipation.

As a follow-up 40th Birthday Bash event for local alternative radio station WBRU in Providence RI. It has now been proven that they know how to throw a pretty damn good party! The line-up starting with An Horse, followed by southern-grunge rock group 
Cage The Elephant, headlined by the most anticipated Silversun Pickups.
The venue was not much to talk about — I am sure it was a gem back in its day.
However, for now it's a run down rock venue, which turns into a hip hop club after hours.

So if you can picture the kind of place I am talking about, you'll understand that the scene set practically perfect for this kind of show.

Lupo's was packed, a turn out I had heard some say was the best they'd seen in this place all year. The two opening acts served as a great appetizer for the audience. Getting everyone riled up, but just awful enough to keep them contained for the headliner. (Sorry, but Cage The Elephant was nothing to rant about.)

Hell I went out and bought Carnavas when "Lazy Eye" exploded onto the radio. I am not a super-fan, but I can dig what they offer. The most amazing part about all of this is that I had half expected this show to be a pretty average rated performance.
So maybe my attitude in the beginning set me up to be either totally right or completely blown away. The latter of which I find does not happen on very many occasions with today's music indulgences. So what was to follow was as alarming to me, as it was for much of the audience I am sure.

Silversun Pickups put on a show so consuming, so phenomenal — I was, and still am completely blown away. This was the classic alternative rock show I thought had been buried for many, many years. Prior to this evening - of which nothing short of pure vitality was proven, the great genre that had been lost in between lines of grunge, 90’s alt-rock, and indie became stitched together in the most magnificent of ways. (Think of Smashing Pumpkins) Brian Aubert (lead vocals, guitar) performed volumes, stopping in between songs not to take a breath, but to repeatedly thank the fans. For which, they felt indebted to scream back gratitude's of their own.

Brian carried the show like the sweat pouring off his brow, manifesting vitality in every measure.

Silversun Pickups really know how to leave a lasting impression; they left every person standing on air. Playing all of the favorites as well as some of the new stuff off of Swoon. "Panic Switch" of course made high impact, drawing liters of sweat in from the energetic crowd. "Kissing Families" was my favorite; Silversun performed it as if they were to never play it again. "Lazy Eye" was one of the last of the songs to be played, and as their break-out hit you would expect them to be bored in its performance. But going with the shock & awe theme of the night, again- I was stunned.

However, the glory of the night didn't come from the front-man, or even the beautiful and talented Nikki Monninger (bassist). The highlight of the evening would have to be placed entirely on what happened behind the main act. The place where few onlookers tend to pay attention, the one band member often times left behind. This show made all the exceptions for shadowed out drummers everywhere. The incendiary performance by drummer Christopher Guanlao kept the spotlight illuminating his genuine talent all throughout the night. He proved song, after song his ability to win over the show.
At one point he did what seemed to be a three minute solo; the entire venue left standing still, jaws to the floor in awe. Even his fellow band-mates turned to him in silence and respect. It was like witnessing the national anthem at the beginning of the Superbowl. It was within that moment, my admiration for Silversun Pickups was solidified.

Lest not leave anyone in the dust, I also want to make notice of Joe Lester (keyboards). If it wasn't for him Silversun would not have the pioneering sound that they do. This man is a pedestal for every sound Silversun Pickups processes, a mix-master if you will. Past the bands second encore (yes, second!) following the end of their last song Brian Aubert, and Joe Lester stayed behind on stage. A most unusual rendition of noise, which could be compared to Jimi Hendrix with modern day synthesizers and mix-tables. This whole spectacle left the crowd screaming for more, a solid five minutes after the lights had turned on.

Upon walking in at the beginning of the night, I was merely a music critic with a slight chip on my shoulder. At the end of the night, I was raging with the crowd as well as any fan standing there.

Concert Review: Norfolk & Western at The Somerville Theater

It is a misty night in Davis Square, a bustling district on the outskirts of Boston. Consisting primarily of college students and many people not deterred by the rain on a Friday night, the folks of Somerville know right where to go on a night like this: The Somerville Theater, a cozy, double-use repertory theater. Featuring a cinema, as well as a grand auditorium for performances occupying the main floor, the venue's charm creates a vintage sentiment in the district. It is classic and appealing for those who desire a slight taste of something new, all the while containing a soft sense of old-style entertainment.

The smell of fresh popcorn really sets the tone for a humble night. People are bustling ever so quietly to get seated. Dimly lit, and ever so hushed — the atmosphere was heavy with anticipation. With each patron relaxed and awaiting the inception of the show.

Norfolk & Western are supporting Mirah on her fall tour. I must say, both acts compliment each other very well. Coming all the way from Portland, OR, neither artist boasts any elements of exhaustion from the road. Playing lusted, well written songs transcribed in a manner not many people are used to hearing. Norfolk & Western have a pleasant demeanor about their sound, forwarding a fashion that favors that of the old fashioned stage for which they play upon.

Adam Selzer the band's founder and front-man is certainly not an amateur to the indie music business, having played with M.Ward, as well as supporting M. on previous tours. The group creates a folk-tastic, harmonious dynamic; each member providing their own significant experiences. Rachel Blumberg, the former drummer of The Decemberists, is a key element to Norfolk & Western with a drumming style to counter their organic manner. Rachel also provides much of the song-writing in addition to the percussion. The other band members rotate:Tony Moreno, Amanda Lawrence, Dave Depper, and Cory Gray each bring a homage and respectable measure to the band, with other projects consisting of: Horsefeathers, The Village Green, andBlanket Music. 
This all goes to say that Norfolk & Western is a well-rounded circuit of musicians.

The show went off without a hitch, fairing a few songs from the older-stuff such as “Barrels on Fire” off The Unsung Colony (2006) – a personal favorite of mine. They are touring in support of their newest album Dinero Severo, which in my opinion is a different aspect of their ‘typical’ genre all together.

The past albums have come to incorporate a softer, slightly darker side of indie/folk. Whereas Dinero Severo, and even as early as  A Gilded Age (2006), they have changed to a lighter more pop orientated musing.

I was very interested in experiencing what this show had to offer and in hearing the new album performed. I have been a long time fan of the older stuff, but when Dinero Severo came to my attention, I became indifferent. Norfolk & Western did indeed prove my doubts; their set was short but skilled. They played a clever mix of songs from each older album, and making good time for the new record. 

Livening up the crowd a bit, “Hiding Home” was a faster pitch and took the hush out of the atmosphere. A difficult stance for Adam Selzer to be in; the venue was entirely seated. Thus’ leaving little help to the band in getting the audience to participate with the essence of the more pop-orientated songs. Not an easy pursuit for any band to be playing to a somber crowd on a rainy night, with fresh material from a newer angle. All things considered, I am contented with how the show played out entirely.