Change of Plans for Tonight, Reviews Coming Soon, Recs

Holy Moly. After a travel snafu, we decided to bag tonight's Avett Brothers show in Nottingham and wait until Sunday to see 'em in London. And since last night's Black Keys/Black Angels show at Sheperd's Bush Empire was so killer, we're going again tonight. The review for the Decemberists is almost there. And the JBoys, EITS and NME showcase reviews are also on the way. We'll also have the review for last night and tonight. Like Axl said, "All we need is just a little patience." Is that why we're still waiting for Chinese Democracy? Ahem.

Ok, check out this video of Josh T. Pearson, who opened for EITS. Pretty big on him after the show, and will have more about him with the review. And please, please, please, go here to listen to the acid loving southern rock of Dark Meat--some of the most badass tunes I've heard in a while. It's another American band--they're from Athens,Georgia--but what the hell. It would be wrong not to tell you.

Minor Delays, But In A Good Way

Yesterday was a very good day. After arriving in London, AS Abroad headed to Harrod's for some much needed rock 'n roll history. Yes, that Harrod's, the paragon of lavish consumerism. Right now they're off the hook, as they're sporting a fascinating exhibit called Born to Rock. In addition to holding the first guitar available for public purchase, nicknamed the "Frying Pan," the collection boasts six and four-string guitars from such axe icons as Jimi Hendrix, Bo Diddley, John Lee Hooker, Neil Young, Chet Atkins, Eric Clapton, and Brian Jones. Not a bad roster, eh? In addition, there are a number of custom guitars that have been designed by artists from all over the world. Contributors include music video director and photographer David LaChappelle, Bono, fashion label A Bathing Ape, and musician turned photographer Brian Adams. Sorry for the tangent, but who remembers this:


Gotta love the Japanese karoake format. Damn guilty pleasures.

Back to the topic at hand. The collection is clearly awesome, and I will post some pics as soon as my computer creeps out of the Jurrasic Period. If you are in the area, definitely stop by. Did I mention it's free?

After scouring the exhibit, we stopped by the Camden district, where we perused some markets and record stores. There was some serious vinyl going on--one cavernous store comes to mind--but I distanced myself, as I knew I had plans. Big Plans.

What were those plans? Acquiring entry to last night's segment of the NME concert series, featuring Kings of Leon, The Hold Steady, 120 Days, and Cajun Dance Party. The main object of my desire to get inside was to see The Hold Steady, who, until last night, I had never seen. I also wanted to check out the new KOL material from their upcoming album, Because of the Times. Thanks to a bit of fundilation, both goals came to fruition.

Expect a big review today, but here's a summary for now.
Cajun Dance party was a healthy dose of British post-punk. 120 Days was way out there, groovin' it krautrock style. The Hold Steady killed it as usual, and picked up some new fans along the way. And Kings of Leon. Well, let's just say the garage days are over. The new stuff is arena-ready.

So that's what the delays are all about. There's a lot on the platter right now. Decemberists, Junior Boys, Explosions in the Sky, NME. It might take a little while to get the reviews up, but it'll be worth it. And don't think I won't provide some entertainment for the wait.

In honor of New Musical Express and the UK's most famous band, here's a video of the Beatles performing "Ticket to Ride" at an early NME showcase. Tops.



Oh, and by the way, when I use "We", dont think I've gone crazy over here. It's not me, myself and I. My cousin Tillery Johnson has been trekking around with me. He's got some good vids that we're going to post. And, he's a bit like Cousin Eddie, at least in the unpredicability category. It's about time I introduced him. Here is his first vid. It's from a reggae fest that we went to in Salamanca on Bob Marley's birthday. The fest consisted of some DJ's and vocalists, and really wasn't much to speak of, which is why I didn't make a lenghthy post about it. But this guy had some crazy flow, though I have no idea what he is saying. I think it's French. Anybody care to translate?

Dam(n) Rain

It's been raining all week in Amsterdam. Damn. However, there have been some interesting things to do, like browsing the ever-inspring Van Gogh museum. And, thanks to a good friend, Bradley Pitts, there's been a dry roof over my head. Pitts is quite an interesting guy. Look out for a story on him. The rain also didn't stop AS Abroad from catching another spiritedly unique Decemberists show at Paradiso on Wednesday night. Should have that story up soon. Like most Decemberists performances of late, there was some very amusing crowd interaction. Paradiso is a multifloored venue, so tonight I'll shake my buns to the pop/electronica sounds of Junior Boys, then go upstairs and take in(and probably rock out to) the brooding, avant-garde instrumentalism of Explosions in the Sky. Sounds like fun to me. Sorry for the low content, It's been a tough internet week. There should be a good helping of posts in the next few days. For now, check out this video from British twee-rockers, The Boy Least Likely To. The song, "Be Gentle with Me", always gets me of a funk.

New Feature: The Weekly Abroad Playlist

Ciao. AS abroad is in Florence, Italy right now. On Valentines Day I found an awesome vinyl store, complete with a copy of a hilariously Gary Coleman-adorned, Diff'rent Strokes seven inch. Didn't buy it because I got kicked out for browsing. Hmm.

Yesterday, while cruising around the Tuscan countryside, listening to my nano (Thanks, Bob), I thought about posting a weekly list of 10 songs that are propelling our travels. Some will be new, some will be old. Some will be foreign, some won't. But if you haven't already heard 'em, I urge you to check, check, check, check 'em out. And if you have, perhaps give 'em another spin.

Amadou & Mariam--"Sénégal Fast Food"--Dimanche a Bamako
The uplifting, West African rock from this blind Malinese couple, featuring Manu Chao, makes me smile.

Annuals--"Sway"--Be Here Me
Beautiful song from this Raliegh-based wierdtet that often encompasses the beauty of new European sights.

Midlake--"Roscoe"--Trials of Van Occupanther
Try to get this Neil Young singing Fleetwood Mac number out of your head. I dare you.

Jim Noir--"My Patch"--Tower of Love
A bubbly popper from this British one man band that is the perfect song for a sunny drive.

Klaxons--"As Above, So Below"--Myths of the Near Future
Electro pop-punk from the recently-released, red hot debut of this British trio that will get you out of bed and moving.

TV on the Radio--"Hours"--Return to Cookie Mountain
Creepy waltzer that beautifully complements late night travels.

Sigur Ròs--"Saeglopur"--Takk
For some reason these orchestral sounds of Sigur Ròs always fill my buds when I'm on the subway.

Wolfmother--"Colossal"--Wolfmother
I will remember the band's ear-ringing Hammersmith Apollo performance of this song for as long as I live. Plus, it's badass.

Hot Chip--"Colors"--The Warning
Melodic British electronica that just makes sense when you are taking it all in.

Drive-By Truckers--"Easy on Yourself"--A Blessing and A Curse
With this one, Jason Isbell reminds you to make the most of your opportunities. Fitting for a self-disciplined journey.


Also, check back in the next coming days for that freestyle video. We're trying to get it up. In addition, on Tuesday we head to Amsterdam, where we'll see the Decemberists, Junior Boys, Explosions in the Sky, and hopefully a few more. Should be quite a week for AS Abroad, so stay tuned.

Howlin' Wolf

Disclaimer..Because of the size of the venue and my lack of camera equipment, the videos and pictures didn't turn out so well. So, I ain't postin' 'em. All apologies. However, worry not--there shall be good media for future reviews.







The Beatles. The Yardbirds. Ziggy Stardust. Iggy and the Stooges. Black Sabbath. The Who. Neil Young. Iron Maiden. Guns N' Roses. Queen. All of these musical juggernauts have rocked the London Hammersmith Apollo. Young set the place on fire. Literally.

Knowing this last Tuesday night, it was hard not to imagine what it was like in the free-flowing days of Revolver or the hair and leather times of Sabbath Bloody Sabbath--especially considering the current fashion mode takes a heavy dose of retro. The grand decor is flavored with the spilled suds and long exhales of many a raucous occasion. The pervading sense of nostalgia was also heightened by the fact that the evening's act, the hard-rocking Australian three-piece, Wolfmother, released a self-titled debut last summer teeming with influences of the likes of Led Zeppelin and Sabbath. However, as soon as the show began, all yearnings for shows past we replaced by refreshing waves of exhilaration.

Following the two-drummer psych rock of Wolf and Cub, Wolfmother entered with pistols blazing. As the band finished their blistering opener, '"Dimension," Stockdale proclaimed to the crazed masses, "It's the changing of the guard. From the Wolf and Cub to the Wolfmother." This initiated an ass-kicking run. We first heard the rolling thunder of "Pyramid," with the frizzy-haired front man’s full moon bays reminding us of the band's handle. Next the threesome demonstrated their breadth of influences with "Apple Tree," which skips from Stoogish fury to New Wave metal. Stockdale then paused a moment, remarking that the crowd might relate to the next song, because that morning in London he saw a lion and a unicorn on a date. Not quite sure if one could actually identify, but with those words, he strummed the opening riff of "White Unicorn," leading the frenetic Aussies into a devastating performance--highlighted by a lengthy adaptation of the number's mystical bridge. The band ascended into a swirling descension, then were pulled out by the drumming of Myles Heskett, who propelled the group higher and higher until, BOOM!, they exploded with that seismic riff, sending the chaotic crowd into delirium. Enraptured fans climbed onto the outstretched hands of their neighbors, attempting anything possible to get closer to the stage. While other, more aggressive members of the audience released their rage in rugby-worthy mosh pits.

Wolfmother's stage antics were doing nothing to alleviate this insanity. Stockdale's performance was characterized by stage sprints, Elvis shimmies and amp-top solos. On "Witchcraft" he howled like Ozzie and wind milled like Townshend. Heskett unleashed on the drums with such an enormous amount of energy that it's a wonder he even made it to the band's galloping single, "Woman," late in their set. And with his Yes-like organ playing during "Mind's Eye," which the band hauntingly creped into following a heavy freak out ending to "Woman," Chris Ross nearly destroyed his keyboard. His dominating style left the keyboard on end--and the crew scrambling to cut the heightened feedback--upon the finish of the set ending number.

After a few minutes of roaring applause, Wolfmother retook the stage. Beginning with the back porch boogie of "Vagabond," the threesome capped off a two night run and an incredibly rejuvenating performance with their four song encore. And while "Communication Breakdown" has been a continual crowd pleaser, the bookends for this homage to bands past--tremendously powerful "Colossal" and heart-racing act closer "Joker & the Thief"--illustrated that the band's originals can hang with songs of old and, distinguishing the need to be nostalgic for classic rock. It's alive and kicking. Just ask the crowd that watched Ross sprint across the stage and leap over his keyboard to finish the final piano riffs of the night. Yeah, it's safe to say that future journalists will hark back to the days of Wolfmother.

Apologies, Updates

Hey everybody, we're in Rome right now. I realize that there hasn't been a post since Monday and I apologize. This week has been really hectic, as I've been from London to Salamanca to Madrid and now to Rome. A lot to complain about, huh? Poor me. Anyhoo, I caught the Wolfmother show at the Hammersmith Apollo on Tuesday night and it was mind-bogglingly rad, so check back here in the next few days for that review. There will also be some other stuff, such as a new music update and an awesome video my cousin captured on Thursday night of a French dude freestyling in a bathroom. Yeah. Until then, check out this video for The Avett Brothers' spine-tingler, "November Blue." Looking forward to seeing them in a few weeks.

Emily Haines, You Are Not A Preacher!

My arrival in Oxford was not as smooth as I hoped it to be. (NOTE TO SELF: before going to a new city, make sure you write down hostel address.) After criss-crossing Oxford with my 40 pound pack trying to find the hostel with the yellow door--for some reason people didn't respond to my queries of, "Do you know where the hostel with the yellow door is?"--I found the Central Backpackers Hostel. After settling in, I asked around the joint and figured out how to get to Zodiac, the venue where Metric was playing.

A short cab ride, box office check-in, and staircase climb later; I was engulfed by sweaty bodies, cigarette smoke, and the eerie punk-pop sounds of Emily Haines and company, who were closing out their opening number. As I found out from the gentleman beside me that it was in fact the end of their first song, the initial notes of "Poster of A Girl" rang out. Immediately the audience threw itself into a frenetic boogie, one that lasted through the heavy riffs of “Patriarch On A Vespa” and most of the catchy space-pop of “Police and the Private,” which Metric nodded to a close with a longwinded psyched-out transition—burdened with distorted, swirly guitars, ballistic percussion, and far-out synthesizer work. However, those lost during this segue were quickly recaptured by the “Bawitaba”—listen again if you haven’t noticed it--introduction of “Monster Hospital.” Backed by the powerful guitar work of Metric co-founder James Shaw and the driving rhythm of bassist Josh Winstead and drummer Joules Scott-Key, the beautiful Haines appeared commanding throughout the song, especially as the crowd joined her for the last chorus, a quasi-a capella chant of “I fought the war/ I fought the war, but the war won.”

Unfortunately for Haines and Metric, these early triumphs didn't last. Beginning with a jaded introduction--centered around vague accusations about “stealing music”--to first set closer “Rock Me Now,” a rising, spoken word piece from an early LP, Haines’ behavior for the last part of the act was, to use a bit of local jargon, wankerish. Besides the rousing first verse and chorus of second set—or was it encore—opener “Dead Disco”, from the band’s debut, Old World Underground, Where Are You Now?, and an invigorating instrumental solo while the front woman went offstage, the second half of the performance was an embarrassing Emily Haines rant. Now, I will say, that once in a while the audience may warrant a hit or two of advice, but not from someone as strung out as Haines looked last night. And certainly not advice as circuitous and indecipherable as her diatribe was. After one oblique lecture about ringtones and downloads, she thanked the audience for “letting me get that off my chest.” *Crickets*. Perhaps the common opinion was expressed best by a local standing next to me. Towards the end of the nonsense, after hearing Haines repeatedly chant something along the lines of, “Just tell me what you want,” he looked at his friend and stated, “More songs.” Cheers, mate. Next time Emily, don’t get so caught up in saying, “f*ck corporate rock,” which is what she gracefully exclaimed as she walked off stage, just play some songs. Please.

Let's hope for everyone's sake that this behavior doesn't characterize Metric's tour with Bloc Party through the UK.

Oggsford Man

Tomorrow I'm returning to Oxford,England, the locale of my '02 summer studies. Should be a jolly good time, as tomorrow night I'm heading to Zodiac to catch the Metric set. Ahh, Emily Haines. I've never seen the Toronto-based band live--and just started listening to them in the past few months--so it should be quite an interesting first experience. Here's the video for the seductively bustling "Poster of A Girl", from Metric's 2005 release Live It Out.

America, Revisited

I know, this is supposed to be the AS Abroad blog, meaning it should mostly be about artists from across the pond. However, this American has a bigger following overseas than in the States, so I figured I'd give you some news on Willy Mason. As you might already know, Mason is a 22 year old troubadour from Martha's Vineyard. He's got songwriting in his blood--his parents were both folk singers--and it shows. The honest-to-the-bone songsmith writes with soulful wisdom that far surpasses his age. His debut album, Where the Humans Eat, was released by Conor Oberst's Team Love label in the fall of 2004 and garnered much critical acclaim. Since then, he's done some pretty cool stuff. You know, like opening for Radiohead, My Morning Jacket, and Roseanne Cash. Nothing too special. He's also finished his follow-up, If the Ocean Gets Rough--Cash lends her tender voice--set to be released March 20th. Check out some tracks here and let me know what you think.

Also give this video a gander. Mason says the song, "Pickup Truck", is "another new one." Keep 'em coming, Willy.