ICM: Girl Talk

Why in the name of the Summer Solstice was Tag Team’s “Whoomp, There It Is,” the Cranberries, “Dreams,” and Peter Bjorn and John’s “Let’s Call It Off,” being played within the same set at Bonnaroo? Why was every soul in the overcrowded “Other Tent” screaming their lungs out to Kelly Clarkson’s “Since You’ve Been Gone?” Why was there a skinny DJ onstage in his underwear screaming orders at the crowd? Better yet, why was the crowd listening? Was this the sign of the Apocalypse?

No, no, no, it was the work of that rascally mash-up mad scientist, Girl Talk. The Pittsburgh native, born Greg Gillis, throws a party like no other. Imagine (or remember) how fun it would be (or was) to get hammered at a middle school dance party, because that is basically what Girl Talk’s set is like. Rockin’ only a Mac, Gillis stewed A.D.D. cuts ranging from the aforementioned artists to T.I. to the Band to Hot Chip to Nirvana. No joke. Fans were shaking their asses on stage. Hippies were doing the robot. Newcomers were slapping themselves for ignorance. I was swinging my T-Shirt over my head. It was hypnotic mayhem. I mean, at one point, everyone was so spellbound by Gillis’ melodic experiments that he stopped and ordered the tent to “stop looking at the f***ing stage, turn to the person beside you and f***ing dance.”

Yes, sir, Mr. Girl Talk, sir. You are officially the king of Late Night Bonnaroo.

Ice Cream Man

Tons of pics up on the Bonnaroo Review at the Ice Cream Man site. Be sure to head over there today and check them out.

The Police

I will admit that I didn't go to the Police in a critical state of mind. I actually spent most of the walk to "What Stage," screaming, "I'm ready to get stung!" Lame, I know. Drinking bourbon out of a Camelback will do that to you. I will also say this: I've been to plenty of shows just to have a good time and been disappointed. And I know there are a lot of cool kids saying the Police weren't protecting and serving like they used to. But I'll tell you what, Sting, Andy Summers and Stewart Copeland were very entertaining. Sure, Sting couldn't hit some of the high notes on songs like "So Lonely," "Don't Stand So Close to Me," and "Roxanne," but the trio still sounded great, especially for a band that hasn't played together in over 20 years (and a bunch of old dudes). Not to mention that basically every song you heard was a Top 20 Hit, and that five of them; "Message in A Bottle," "Walking on The Moon," "Don't Stand So Close to Me," "Every Little Thing She Does Is Magic," and "Every Breath You Take," were #1 on the UK charts. You can't help but feel a bit warm and fuzzy on the inside that you're seeing them played live. Plus, how often can you scream "Da Do Do Do, De Da Da Da" at the top of your lungs and not feel like an idiot? Never, but I did it anyway. Yeah, so maybe you think I'm not cool because I had fun at the Police. I don't give a...

ICM: Wilco

Wilco
Just like their new album, Wilco's set at Bonnaroo was solid. I mean, they pulled out the really big guns; "Jesus, Etc.," "I'm Trying to Break Your Heart," "Via Chicago," "Handshake Drugs," "Shot in the Arm," "War on War," "Hummingbirds," "I'm the One Who Loves You," "Spiders," etc. That's bleeping all-star. And except for obnoxious drums and really cheesy synth on "Via Chicago," the music was on point. But for some reason, it just didn't resonate. Maybe it was the size of the stage. Maybe it was because it was the last day; I was tired and couldn't stop thinking about the White Stripes. Maybe it was because of the fact that of the five new songs played, only "You Are My Face," and "Walken," really held up. I think it was probably a combination of those things. I will say this, Jeff Tweedy looked as happy as I have ever seen him, and Matt was grooving a few rows in front of me. And I said it was solid. Ain't nothin' wrong with that.

ICM: The Hold Steady

The Hold Steady

This has been one of the most talked about sets from the weekend. Much to my chagrin, I only caught six songs because I was in the middle of an interview. From what I did see, it’s no surprise that the Minneapolis-based bar rockers’ performance has received high acclaim. The short stint I caught featured some of the band’s most balls-out fare, such as Boys in Girls in America’s “Hot Soft Light,” “Chips Ahoy,” “Stuck Between Stations,” and “Southtown Girls,” as well as Seperation Sunday’s “Hornets, Hornets,” and “Lil’ Hoodrat Friend,” with spastic front man Craig Finn inciting the well-buzzed crowd to chant “Yankees Suck” during the latter. The inebriated roar following that exclamation was unlike any I heard the entire time I was in Manchester. From what I can gather, the Hold Steady’s act screamed with the same drunken intensity.

ICM:The White Stripes

The White Stripes
The setting of the White Stripes’ Sunday evening performance radiated devilish mystique. Hell (whoops), if a bible-thumping local had been there, they’d probably tell you satan hisself was in the festival grounds. As an abnormally large smoke ring floated in the sky, the little remaining sunlight illuminated the White “siblings”—clad in their traditional red and white and backed by a cherry red curtain—like the fiery depths of Hades. It was a scene straight from the cover of Weekly World News, with headlines reading, “Lucifer Seen at White Stripes Concert. Porta-lets Burst into Flames”

And you can bet your ass that the Stripes played like musicians possessed, slaying numbers from their new release, Icky Thump, as well as selections from past albums all the way back to debut The White Stripes—like the sweaty, biker bar romp, “Stop Breakin’ Down.” Strumming his guitar, “Rita,” Brother White took on the persona of an old country star, addressing the crowd in an amped-up southern dialect while performing countrified fare like the oft-covered hit, “Jolene,” the rockabilly strutting “Hotel Yorba,” and the moonshine still punk-rocker “Black Math.” It was a definite demonstration of this band’s range, as was the final stretch, which saw the White Stripes blister the crowd with squirrelly distortion on “Blue Orchid,” cruise in the Cadillac with “I Just Don’t Know What to Do with Myself,” become hippie-friendly with “We’re Going to Be Friends,” and then tear off into the night with “Seven Nation Army.” Then Jack and Meg took a bow for the audience, as the former left us with the following;

“God Bless Ya. Thank you for buyin’ our records. Have Fun. Get home safely.”

Thank you, Jack and Meg. That was a mighty fine performance.

ICM: Tortoise

Tortoise

I had never listened to Tortoise prior to Bonnaroo. I’m a fan of the Sea and Cake, so I was excited to see what John McIntire’s main project had to offer. The instrumental five-piece’s genre-bending post-rock was a perfect fit for the new festival demographic. It was jamming enough to please the patchouli-friendly folk and artistic and credible enough to attract the indie crowd. But all appeasing aside, this band is insanely talented and created a variety of instrumentals that left this guy scratching his head in bewilderment. And I was sober. I can’t imagine what that bug-eyed dude next to me must have been thinking.

Tortoise's Myspace

ICM: Hot Chip

Hot Chip

When the first Bonnaroo was in the works, I bet the founders never dreamed that one day, a group of nerdy British guys armed with a variety of synthesizers would take the festival’s second largest tent in the palm of their hand. Sure enough, it was late night in the daytime on Friday afternoon in “This Tent.” UK-based, electronica quintet Hot Chip had a jam-packed tent bumpin’ and grindin’ to selections from their past two albums, Coming on Strong and The Warning, as well as some bangin’ unreleased material. Spruced-up interpretations of songs like TW’s “And I Was A Boy from School,” and unreleased live stalwart “Shake A Fist”—described in my notes as “f***in’ rad”—had new initiates pulling dance moves they never imagined possible. I should mention that this was only thirty minutes into the set. Sadly, I only caught stories of the mayhem caused by “The Warning” and “Over and Over” because I had other shows to check out. Yes, I left. I am an idiot. I know.

Hot Chip's Myspace

ICM: The National

The National

It took a long time for the National to get their Thursday night set started in "That" tent—a delay resulting from the first of many sound issues at Bonnaroo 2007—but once the Cincinatti-based quintet did, it was on. Matt Berninger and company brought the slow-building heat, performing a number of tracks from their critically acclaimed new album, Boxer, such as "Fake Empire," "Mistaken for Strangers," "Green Gloves" and "Slow Show," as well as "Friend of Mine," "Baby We'll Be Fine," "Mr. November," and "Secret Meeting" from 2005's heralded release, Alligator. Sprinting around the stage and climbing atop amp stacks, Berninger sang into the heavens as the stately rock sounds of brothers Dessner and Devendorf soared across an enraptured audience. And for their closing number, the National selected "About Today" from their Cherry Tree EP--its breathtaking, orchestral ascension a perfect summation of the night's performance.

The National's Myspace

Ice Cream Man: Bonnaroo

I am writing a bunch of reviews from Bonnaroo for the Ice Cream Man, which I will also post here. These aren't lengthy reviews, mostly just accompaniament to the loads of awesome pictures he posts. So make sure you go over to his site and check them out. The big review should be up in the next couple of days. Also, if he is ever in your neck of the woods, make sure you go by and get some ice cream. (Or just talk to the guy. It's not like someone who travels around the country giving away free ice cream doesn't have killer stories to tell.)

Toro y Moi

My friend B.K. told me about Toro y Moi a few weeks ago. Toro y Moi is the side project of Chaz Bundick, the front man for Columbia, SC-based band, The Heist and the Accomplice. I listened to a couple of tracks on the myspace page and was instantly hooked. So I e-mailed Chaz and he sent me 19 tracks of his material. Holy moly! It's really good stuff, definitely with some Animal Collective tendencies--there's a multitude of sonic elements present--but much easier to digest. Bundick lists influences ranging from the aforementioned clan to Devendra Banhart to David Bazan. But in all honesty, Toro y Moi is just Toro y Moi. Bundick's plaintive vocals are beautifully layered over an intriguing blend of kaleidoscopic folk and rock to create original, well written songs. To think that he does it all himself makes it that much better. Here's to hoping that Chaz releases an album soon.

Check it out for yourself!









I am working on arranging an interview with Chaz, so look for that in the near future!

Elvis Perkins in Dearland at Bonnaroo

I mentioned Monday that Elvis Perkins' set was my favorite at Bonnaroo this year. Sure the White Stripes killed it and Girl Talk blew us all away with his incredible sampling routine, but I knew that was going to happen. I listened to a little bit of Perkins' debut, Ash Wednesday , a couple of weeks ago, and was impressed by what I heard, but I wasn't expecting the awe I experienced during his afternoon performance with backing band, Dearland. A refreshing breeze blew through the tent as the folk-loving crew blessed a sun-beaten but sizable crowd with an assortment of songs, (relatively) old and new. Perkins' modern folk was a stark contrast from the neo-classic rock blasting from the Wolfmother set across the way, but it was the perfect introspective fare for a tattered, Sunday Bonnaroo population. Beginning with Dylan-influenced, Ash Wednesday opener "While You Were Sleeping," Perkins captivated us before introducing "Hey," a bustling new tune. The wiry, baby-faced songsmith then slowed it down again with the stunning "Emile's Vietnam in the Sky," before picking things up with the jazzy shuffle of "Without Love" and the driving rhythm of "Weeping Pilgrim," a song he informed us was a "dance number in the Civil War days." Perkins and company pulled back on the reins for the next stretch, delving into AW's quirky "Sleep Sandwich;" a new organ flavored tune, "Shampoo," and the bourbon-lulled number "The Night and the Liquor." Dearland left Perkins with his guitar and harmonica for the next selection, "It's Only Me," but their return saw a crowd-pleasing addition, Alec Ounsworth of CYHSY--a band Perkins opened for earlier this year. Donning a straw sun hat, the eccentric front man contributed electric guitar and backing vocals to "Doomsday," the most uplifiting number of the set, complete with spirited trombone, a rollicking drum line, and a "la la la" harmony. And with the carefree, jazz-infused, "1,2,3, Goodbye," Perkins brought his soothing act to a close, instructing the audience to "take care." It was a cheerful ending to an enriching performance, an hour of clarity that reminded us all that great music isn't always about booty-shakin', foot-stompin' or headbangin'--and that Bonnaroo's eclectic line-up allows for such realizations.

Bonnaroo Recap

For some reason when I thought about Bonnaroo today this quote from National Lampoon's Vacation popped into my brain.

"We're gonna have so much fucking fun they're gonna need plastic surgeons to remove the smiles from our fucking faces. We'll be whistling zippity-doo-dah out of our ass holes."

I need a plastic surgeon right now, too. And I'm pretty sure my butt hasn't been this musical in years. But seriously, talk about an awesome weekend.

What should I begin with? Interviewing the Whigs on the Ferris Wheel? Seeing the White Stripes for the first time? Unabashedly removing my t-shirt and waving in the air during a ridiculous late night set from Girl Talk? Chatting about the heat with Elvis Perkins at the coffee bar before his Sunday set--my favorite of the weekend. Eating large amounts of ice cream backstage? Catching awesome performances from the National, Hot Chip, the Hold Steady, Dr. Dog and Tortoise, among others. Singing along with Sting? (I mean, uh....)

Yeah, it was a pretty absurd time. How 'bout I just post some of the pictures that Bob Clement took...

Elvis Perkins and special guest Alec Ounsworth of Clap Your Hands Say Yeah



Hot Chip



Parker Gispert of the Whigs



Scott McMicken of Dr. Dog



Sting



Look for more in-depth Bonna reviews throughout the week.

Bizzle Rizzle Fashizzle Dizzle

Day One of Bonnaroo was a great success. In addition to meeting up with my other employer for the weekend, the Ice Cream Man, I caught some really rad music. Imagine that? First off was the Black Angels, whose eerie pysch rock was nicely complimented by an incredible sunset backdrop. Then after slingin' some scream with Matt, I headed over to the National. Matt Berninger and co. brought the heat on a number of tracks from their recent release, Boxer, as well as a few from Alligator. Their beautiful form of rock 'n' roll sailed across the audience with an awesome intensity. Lastly we caught the Whigs. I haven't seen these guys in a a while and I was really excited to hear some new tracks. The new stuff sounds great, ranging from Nuggets-tinged fare to full on, early 90's grunge metal. The latter was particularly impressive and surprising. Their new bassist/multi-instrumentalist U.S. Gunn seems to mesh really well with Parker Gispert (lead vocals/guitar) and Julian Dorio (drums). They also played a badass cover of John Lennon's "Instant Karma." Crowd was lovin' it.

O.K., gotta go, boss needs the comp. More updates later. Stay tuned.

It's Business Time!

Pretty behind on the blog 'cause there's lots of stuff goin' on right now.

First off, Last Thursday we caught the spirited roots-rock duo Two Gallants at the Basement here in the Music City. Adam Stephens and Tyson Vogel gave us a hearty dish of the well-written, wild west rock 'n' roll found on their last album, What the Toll Tells. Highlights included the set opening intro to "Steady Rollin'," with tripped-out, oriental flavoring that invoked images of the opium den scenes from Tombstone. Fontaine's guitar and vocals were searing on numbers like "Seems Like Home to Me" from their new EP, The Scenery of Farewell(released on Saddle Creek on June 17), and crowd favorite, "Las Cruces Jail," on which Edneud illustrated his highly-energetic rhythmic tendencies. Two Gs also debuted tracks from their upcoming LP, one titled "The Country Emo Song." Stuff sounds pretty similar to their current songs live, but that stuff is awesome in my book, so I look forward to the new release.

Check out "Seems Like Home to Me" here.


Tomorrow we head to Bonnaroo. Hee-haw! This will be my third year going to the fest and I really can't say enough good things about it. Heck, I guess I'm really excited to see Manu Chao Radio Bemba Sound System, the Hold Steady, the National, the Black Angels, the White Stripes, Dr. Dog, the Black Keys, Feist, The Whigs, Charlie Louvin, Girl Talk, the Flaming Lips at Midnight, El-P, the Superjam with John Paul Jones, Ben Harper, and ?uestlove, and number of other super duper bands that will be playing. I could really go on and on. Oh and the Silent Disco. If you're reading this and going to Bonnaroo, please go there. I will never forget dancing with 75% of My Morning Jacket two years ago in the ring of happiness that is the Silent Disco. It was the night before their show and I am pretty sure that dancing near me was the reason they rocked so hard the next day. Obviously I am kidding but it was still awesome.

Ok, sorry to nerd out there. Here's some tracks that I can't stop listening to.

The first is by Z.A.K. and lays the lyrics from Clipse's "Mr. Me Too" over the music from Lee Fields' "Honey Dove." It's the equivalent of a cool summertime breeze. It's taken from P4K

The second is "FaFaFa," a funk-infused dance track from Datarock and though most of y'all might know about 'em, I just found out about the Norwegian dance duo from my friend, Rachel. Slow, I know. You can find it on their Myspace page.

Oh, and I almost forgot. I am pee my pants excited to see Flight of the Conchords. Here is a video of those guys performing their song, "Business Time." So awesome.


That's it for now. If I don't post tomorrow, I'll see everybody on Monday.

Summerbirds in the Cellar

Athens/Orlando-based, electro-psych quartet Summerbirds in the Cellar have a pretty rad string of dates coming up. First, they open in Tallahassee for poppin' off art-rock sensations, Battles. Then Summerbirds bust three nights with another Athens band, Elf Power, and the falsetto-loving, junkyard dogs, Man Man. They also have a new album, Druids, that drops soon. Indie Mom posted three demos over at Speed of Dark, and these electro-heavy rockers sound very nice. The vocals are somewhat similar to Hot Chip , but that's really only if you really want to make a comparison. Should be a really good time when this record drops.

[From Speed of Dark]

Summerbirds in the Cellar- wicked world (move softly) [demo]

Summerbirds in the Cellar- the hero boys, the folding [demo]

Summerbirds in the Cellar- the night thief [demo]

Summerbirds in a cellar near you:

Jun 15 2007
9:00P
40 Watt w/ Maserati (CD RELEASE!)
Athens, Georgia

Jun 20 2007
9:00P
Beta Bar w/ Battles
Tallahassee, Florida

Jun 26 2007
8:00P
BackBooth w/ Man Man and Elf Power
Orlando, Florida

Jun 27 2007
9:00P
Studio A w/ Man Man and Elf Power
Miami, Florida

Jun 28 2007
8:00P
Orpheum w/ Man Man and Elf Power
Ybor City, Florida

The Avett Brothers--Whippin' It

Concord, NC-based, genre-defying trio the Avett Brothers are really kicking ass right now. Released on May 15th, their sixth studio album, Emotionalism, debuted at #1 on the Billboard Heatseekers Chart, #134 on the Billboard Top 200 and #13 on the Billboard Indie Chart. Not bad for a group of guys who used to throw their instruments in the van and play wherever they fancied--sidewalk, parking lot, you name it. Hopefully you also caught them on Conan a few weeks ago when they performed "Paranoia in Bflat Major." The lanky, red-headed comedian was so amped following their set that he gave Scott Avett's bass drum a few kicks during his closing remarks. Righteous.

Here's the video from that performance:



Also, the Avett Brothers will be on NPR's Weekend Edition this Saturday. That show takes place from 8-10 A.M. If you can't get it on the radio then check it out at npr.org.

And finally, here is my review of Emotionalism, which will appear in the July/August issue of American Songwriter. It's probably the best issue yet, featuring a cover story on Ryan Adams, an interview with Jack White about Icky Thump, and a rad piece on Elvis' songwriters in honor of the 30th Anniversary of the death of the King--in addition to tons of other great reads. Look for it to hit newsstands in about two weeks.


Emotionalism
Avett Brothers
Ramseur Records
4.5 Stars


The Avett Brothers have never been afraid to sew their hearts on their sleeve. Among the many labels that have been placed on the Concord, N.C.-based trio over the years, there has been one that has always ringed clear: honest. On their sixth album, Emotionalism, integrity is once again the pervading theme. In an age they say “where playing it cool is the way to be,” the Avett Brothers lay their thoughts and beliefs on the table for all to examine, hoping that others will do the same.

This is a band created from the urge to try something new, when Scott and Seth Avett decided to unplug from their hardcore band Nemo and start the eclectically acoustic row they now hoe. So it’s no surprise that they—along with bassist Bob Crawford—utilize a fresh bag of tricks on Emotionalism. Listening to the pop-friendly production of opener “Die Die Die,” one senses that the Avetts have given a shave and a haircut to their normally rough-hewn sound. It’s as big of a risk as the lyrical material, but dang if it doesn’t work. On “Shame,” a song that finds the brothers lamenting over the loss of a girl due to adolescent confidence, light organ compliments one of the cleanest and best Avett melodies to date. “Will You Return” begins as an insecure Mignonette-esque banjo and guitar shuffle, then rides a bubbly, orchestral interlude into a passionate, drum-backed finish. Four Thieves Gone contributor Paleface adds bluesy harmonica and his Marlboro-tattered rasp to “Go to Sleep,” a reassuring barroom sing-a-long that also incorporates keys, fiddle, cello and drums.

It’s not all upbeat production. Such as on the timeless affirmation of love “All My Mistakes,” the Avetts shift on a few numbers from the back porch to the parlor, allowing solemn polish and stunning lyrics to pull the heartstrings of the listeners. After Emotionalism, honest is going to have to get used to the company of another label: brilliant.

Grace Slick?

In addition to creating one of my favorite websites, Moustache May, Mackle at Yewknee posted two tracks the other day from the White Rabbits debut, Fort Nightly. I checked 'em out this morning and am loving what I hear. Both of these songs utilize multiple sound layers for an upbeat latin flavor that is really, really catchy. I actually saw this disc sitting in the stacks yesterday and I have been kicking myself over the fact that didn't pick it up before I went out of town for the weekend. Oh, well. I definitely have something to look forward to on Monday.

Yeah, so throw on your dancing shoes this weekend and shake to the sounds of White Rabbits.

White Rabbits- Kid On My Shoulders (from Yewknee)

White Rabbits- I Used To Complain Now I Don't (from Yewknee)

White Rabbits' Myspace