Category Archives: general

arizona, general

The Via Maris: The Better Year

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Last Wednesday I went to the Last Exit in Tempe with the selfish intentions of seeing Source Victoria and then taking off. But then The Via Maris kept me around for a song … and then two … then three … then the whole set.

It makes sense that singer Chad Sundin is a Valley native. The Via Maris’ music, like Calexico, expertly conveys the feelings of living in a desert metropolis, especially on the title track to the band’s first album The Wilderness Underneath: “Even though the air is dry, the ground is feeling softer now.”

As Serene Dominic of the Phoenix New Times put it: “Sundin has waged an internal tug-of-war between belonging to the desert he came from and feeling decidedly landlocked.” It’s a feeling not uncommon among a lot of young people in Phoenix – we envy a city like Los Angeles but wouldn’t dare move there.

As big as Phoenix has become, it’s still seeking an identity – socially, musically and all points in between. The Via Maris, an alternative to alt-country, follows the likes of Calexico and Giant Sand in helping us feel like we belong.

The group is releasing its second album, The Bicentennial, with a release show on April 11 at St. Augustine’s Church in Tempe (1735 S. College Ave.). It starts at 7:30; cover is $5. Nick Jaina (Portland, Ore.) and David Williams (Utah) also are performing.

(Thanks to Chad Sundin for providing a song from the new record to post.)

general

The Muslims: Extinction

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Thanks to Music For Robots for introducing me to the Muslims and, specifically, to the song Extinction.

This is 2 minutes and 31 seconds of joyous piss and vinegar. More than a breakup song, Extinction extends the trusty middle finger to the singer’s ex. Or, as Robot Mark succinctly put it: “It’s just a good old fashioned fuck you to that bitch who wasted your time. He doesn’t owe anything to her. And that’s that.”

You can pick up a seven-song 12-inch at 1928 Recordings’ MySpace page. Or download more tracks by the Muslims at their MySpace.

The Muslims are playing Hollywood Alley in Mesa on April 25 with The Night Marchers (ex-Rocket from the Crypt).

  • The Muslims | Extinction
general, hip-hop

N.E.R.D.: Everyone Nose

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I know I’ve been squeezing out a few posts on the news of this Kanye West show in June in Glendale, but I’m getting myself pretty geared up for it. I mean, I haven’t been to a big arena show in a really long time, and the money I spent Thursday on pre-sale tickets for the show is just … sigh … let’s just say I’m selling the naming rights to my first born to afford it. (Yes, Wells Fargo Murphy makes a great name, I think.)

Seeing N.E.R.D. is no doubt one of the highlights for the show. It’s odd, but I’ve been waking up recently singing the group’s Rock Star for some reason. (But then, I had a dream yesterday morning that the National were playing Phoenix and Lenny Kravitz opened … what … the … hell?)

Check out a new track, Everyone Nose, from the group’s forthcoming LP Seeing Sounds.

  • N.E.R.D. | Everyone Nose
general

Incoming: Jay Reatard, March 28 (w/Black Keys)

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I’m pretty new to the world of Jay Reatard, which appears to be a twisted and sometimes bloody mess. When I told a friend I was on the fence about going to see him open for the Black Keys this Friday at Marquee Theatre, his response/promise won me over: “It’s the best 18 minutes of your life.”

The only other time I’d really heard Jay Reatard’s name was from a friend who plays in the band Tokyo Electron, which toured with Reatard (or do I say “Jay”?) in 2007.

Pitchfork has the scoop on a series of 7-inches being released by Matador, Reatard’s new label. I can’t even keep track. Apparently, he’s prolific and stuff.

One of the tunes I’ve been enjoying in preparation for the Best 18 Minutes of My Life is Nightmares, from the 2006 record Blood Visions. Like most of his tracks, Nightmares starts and stops before you realize it (2 minutes, 15 seconds), but it pulls you in with a surprisingly catchy chorus/hook.

Also, Reatard is sharing a new song, Tiny Little Home, on his blog.

  • Jay Reatard | Nightmares
general, video

Nada Surf on MySpace Transmissions

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MySpace, a social networking site you might have heard about, has started a studio-session feature called Transmissions. It looks fairly new as Nada Surf and (gulp) James Blunt appear to be the only artists in the archives thus far.

The Nada Surf session is, well, good … but also kind of awkward. A few strange camera angles seem to catch singer Matthew Caws staring off into the nether. I suppose that’s natural when you’re playing in front of an audience of cameramen. I’m just happy to see the band dig back a little bit for some older tunes.

Here’s a couple of the videos. Go here for more music and interviews. You can also buy the performance on iTunes (duh).

See These Bones:

Blizzard of ’77:

general, live

Bon Iver live at SXSW (via NPR)

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No, I didn’t go to South by Southwest (again), and, I gotta say, the coverage of the festival this year seemed to increase tenfold. I’m not sure if that’s a good or bad thing. Just an observation. I did grow a little weary of it by, ooooh, the second day.

But something I haven’t grown tired of – what a segue! – is Bon Iver’s For Emma, Forever Ago. That’s why it was great to see NPR record one of Justin Vernon’s shows and make it available on its All Songs Considered podcast.

Hearing this set – albeit a short five songs – confirmed a couple things: a) I probably need to get this record on vinyl; b) I really should have gone to Tucson to see him last week at Plush (probably one of the finest venues in the state).

Anyway, be sure to subscribe to the NPR All Songs Considered podcast to get the full download, which includes an interview in which Vernon notes that the live setting gives the songs a chance to “crawl out of their shell,” a great way to describe it considering he wrote the album in an isolated cabin in the woods.

Also, from listening to the full set (I clipped out a bit of the banter in between songs) you get the sense that Vernon is truly appreciative and grateful for the fans and for being able to play for them.

Bon Iver, live at SXSW, 3/13/08, The Parish (via NPR):

  • Bon Iver | Flume
  • Bon Iver | Lump Sum
  • Bon Iver | Skinny Love
  • Bon Iver | The Wolves (Act I and II)
  • Bon Iver | Creature Fear
general

New Death Cab: I Will Possess Your Heart (stream)

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death_cab-i_will_possess-cover.jpgFirst impressions are a bitch, and there are a few things that bother me about the first single from Death Cab for Cutie’s forthcoming album Narrow Stairs (May 13).

For starters, releasing a lead single that is 8 minutes, 35 seconds is slightly off-putting, not to mention that the first four minutes consist of just an instrumental build-up (great bass line, though). Then after waiting through said four-minute build-up, Ben Gibbard’s too-pretty voice feels like a bit of a letdown. It’s far too dramatic of an introduction for Gibbard to sustain. I have to wonder if I’d ever sit through this song again if it were on my iPod.

Then there’s the matter of the actual title of the song: I Will Possess Your Heart. G-g-g-g-aaaaah. I wanted to argue with a friend who once said Gibbard’s word choices always seem just too perfect, everything is just so. But now I’m going to have to agree. I Will Possess Your Heart. What’s wrong with I Will Own Your Heart? Or even I’ll Own Your Heart? I Will Possess Your Heart. God damn it. That is just way too precious for its own good.

Again, I love the bass line, and the piano flourishes flesh out the sound. But can we have a radio edit version instead?

[STREAM]: Death Cab For Cutie | I Will Possess Your Heart (Real | Windows Media)

general

Fleet Foxes: Sun Giant EP

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At the risk of breaking my leg to jump on the bandwagon of the emerging buzz, you can go ahead and mark me down as a fan of Seattle’s Fleet Foxes.

Their show on March 2 at Modified was enough to convince me to buy the Sun Giant EP and about five plays of that in 24 hours was enough to convince me to sign my fan-club card.

The tipping point probably came when singer Robin Pecknold opted to sit at the front of the stage, sans microphone, to sing Oliver James, a gorgeous tune that will be on their full-length Ragged Wood, due out in the summer on Sub Pop. His voice has surprising power and undeniable warmth.

So this must be the part where the inevitable Crosby, Stills & Nash comparisons go. And I guess there’s something to it. There’s definitely a certain, well, ’70s spirit to the sound – but they’re not hippies, damn it. But, you know, I didn’t really grow up listening to my dad’s Crosby, Stills & Nash records (Cat Stevens and Willie Nelson is more like it), so it seems irresponsible of me to make the comparison. (Hey, I just believe whatever Pitchfork tells me.)

I do know this: Fleet Foxes are further proof of the power of the beard.

  • Fleet Foxes | Mykonos