Modified memories: David Jensen (Art for Starters)

modified

Modified Arts, an all-ages venue in downtown Phoenix that has been a staple of the local music scene and a vital venue for touring indie bands for nearly 11 years, will change direction and transform into a space focused mostly on art. (Read more here and here.)

As such, I am collecting thoughts and memories from the musicians who played there and the fans who attended its many shows. This is less an obituary and more a celebration of a less-than-perfect but charming venue that, as we know it now, will be missed.

First up is David Jensen, founder of local band Art for Starters (and late of Before Braille) who turned around an in-depth and genuine narration of his affection for Modified.

  • Art for Starters | Pinprick by Prick
  • Modified gave me my biggest motivation for being in a band or having a record label. The clubs and bars in most of my previous experiences were a turn off. Modified made my interests and ideologies tangible under one roof. In the beginning, that roof was not only shelter to local artists and musicians, but it was called home in a very real sense for the tenants who lived on the other side of the wall that used to separate the gallery in half. The air-conditioning was about as capable as the original PA. Hearing vocals, or feeling comfortable in Modified was nearly impossible, but it never deterred me or any of my fellow frequenters. Bands were always loud, and the PA could never keep up. If the band sounded good, it’s because they were good. It was impossible to fake anything at Modified. When I’d watch bands struggle to pull off a good set, it would feel so organic. When my band played there, it always made us focus on our playing and our sounds. Every night would be another episode of trouble-shooting, and it really made us a better band. I was constantly humbled after a night when I wasn’t prepared.

    I made at least weekly trips to see local great local bands like Half Visconte, Fightshy, Pinewood Derby, Sea of Cortez, Fivespeed, or Sound of Sirens, Reubens Accomplice … etc. Most of the “fans” watching were in bands. In the early days of Modified, it really meant a lot if you got a lot of people out to your show. And the number of local artists in the audience was a good barometer for how well your band was doing. I went to a ton of local shows, but my favorite bands in the country always made their first Arizona appearance at Modified. Conor Oberst was 19 the first time he came through. I’m pretty sure David Bazan and Damien Jurado were skinny the first time they came to Modified! Heh. Modified opened during a really exciting and early time for that genre. Bands like Death Cab For Cutie, Braid, Pinback, Bright Eyes, No Knife, Cursive couldn’t even come close to filling the place. (I don’t want to focus on bands of that type, but I do think Modified was particularly helpful for, and available to, those kinds of bands at a exciting time for that genre.)

    Of course Modified was never just bands. I also found my favorite local artist, Sergio Aguirre, at Modified and have five of his paintings in my possession now. (We used his work for two different album covers.) And let’s be honest, would First Friday even exist w/o Kimber and Modified?

    Continue reading Modified memories: David Jensen (Art for Starters)

Del the Funky Homosapien: Lyrics to Go 2009

If I were to take part in my own feature, I Used to Love H.E.R., and write a little something about my favorite hip-hop album, the choice is pretty easy: Midnight Marauders by A Tribe Called Quest. At a time when I was devouring so much hip-hop, Midnight Marauders was the pinnacle, a classic that just begged to have all its lyrics memorized (and I did).

So as far as I’m concerned, Tribe deserves any and all tributes, like the Q-Tip for President mix from J. Period. The latest will come from DJ Chong Wizard, a mixtape called Eclectic Relaxation. Thick Magazine offered up a single from the mix, an updated version of Lyrics to Go by Del the Funky Homosapien, which is only appropriate since he was one of the many to grace the Midnight Marauders album artwork (third row from bottom, second from left).

Port O’Brien on KCRW’s Morning Becomes Eclectic

Though I foolishly overlooked Port O’Brien’s 2007 album All We Could Do Was Sing (I’m making up for that now), I’m happy to have spent plenty of time with this year’s excellent Threadbare.

The Oakland-based band closed a tour run with Sea Wolf on Friday at a sold-out Modified in Phoenix, and Port O’Brien brought a lively energy that I’m guessing won over some of those people who were there just to hear that one song by that other band that’s on that Twilight soundtrack. (Electric Mustache has some photos of the show.)

On its way back through California, Port O’Brien played a session for KCRW’s Morning Becomes Eclectic, in which bass strings are broken and singer Van Pierszalowski discusses life as a commercial fisherman.

Blakroc: Webisode Week 7 feat. Q-Tip

The release of Blakroc – the hip-hop collaboration project of the Black Keys – will be released Nov. 27 (that’s Black Friday), and I get the feeling it’s going to be like a modern-day Judgment Night soundtrack, which really was a trailblazer (don’t laugh … I still have it on cassette).

With a lineup that includes RZA, Pharoahe Monch (!), the late ODB and Q-Tip, it’s hard to see where this could go wrong. Check out the behind-the-scenes webisode in which Q-Tip stops in to drop a verse and the Keys’ Dan Auerbach offers some comforting words for anyone doubting the legitimacy of this project: “We’re trying to stay the fuck away from that (rap-metal).”

Famous L. Renfroe: Children

renfroe

Can’t tell you much about Famous L. Renfroe, other than a few basic facts: He recorded this record in 1968, providing pretty much every sound save the drums and excellent back-up vocals, and released a limited run of records on his own private press. Beyond that, not much is certain, other than obvious:  This record rules hard.  Renfroe was a pretty eclectic fellow; the songs augment the standard blues form with heavy doses of soul and gospel sounds.

Big Legal Mess, in conjunction with Fat Possum Records, issued the obscure album last year on CD, pressing it this year on vinyl.  I was seized with the desire to hear it after a couple of reliable sources praised it, and ordered it on wax at Zia Record Exchange.  Listen to the MP3 below for some reference, but trust me when I say this gem is best enjoyed spinning on the turntable, sitting in the back yard with a beer, enjoying the beautiful autumn weather.

Incoming: Rob Dickinson, Dec. 18

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It’s been a little more than four years since former Catherine Wheel frontman Rob Dickinson released his solo debut, Fresh Wine for the Horses, but he’s starting to stir – perhaps a sign that some new material could be on the way.

This year, he released a cover of the Smiths’ Please, Please, Please Let Me Get What I Want on his own Carrera Records label. And now he’s booked for a return visit to the Valley on Dec. 18 at the Rogue after he played here in January 2006 and 2007 (both at the former Anderson’s 5th Estate in Scottsdale). Tickets ($12) for the 21-and-over show at the Rogue can be purchased by e-mailing roguebartix@gmail.com.

I captured a recording of the 2006 show that was purely amateur, but I love revisiting it all the same. The 12-song concert – included as a zip file below – was, naturally, heavy on Catherine Wheel material. He can probably never escape that shadow, but I wonder if, four years later, he’ll start to distance himself more from his old band’s catalog.

ZIP: Rob Dickinson, live at Anderson’s 5th Estate (Scottsdale, AZ), 1/26/06 (84.7 MB)

TRACKLISTING:
1. Heal*
2. The Storm
3. Oceans
4. My Name is Love
5. Ma Solituda*
6. Handsome
7. Eat My Dust You Insensitive Fuck*
8. Intelligent People
9. Crank*
10. Towering and Flowering
11. Black Metallic*
12. Future Boy*

* – Catherine Wheel songs.

[Photo credit: www.jenniferbroussardphotographs.com]

Dfactor: Shake It

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Phoenix rocker Dfactor is one busy guy.  In addition to ceaselessly recording lo-fi power pop, he maintains a hyper-active blog, Waved Rumor, where he details everything pop-culture, occasionally detouring to deliver charming, curmudgeonly rants about kids at shows paying more attention to their cell phones than the gig.  Like his lyrics, everything he does is blindingly sincere. Buddy-boy even thanks his family for the “time and space to slash” in the liner notes of his new full-length, Slashing the Sunlight.

“Shake It,” the second track from the album is a favorite of mine: two and a half minutes of sloppy, Flamin’ Groovies-via-Guided By Voices pop rock, too brazenly earnest to ever get props from the “cool kids,” but guaranteed to get even the most cynical toe tapping.  You can listen to and download the entire album at his website.

Sea Wolf: Wicked Blood (video)

Alex Brown Church brings Sea Wolf to Modified on Friday, a day before Halloween, which makes this new video for Wicked Blood – the leadoff track on the album White Water, White Bloom – all the more timely.

Delivered in black-and-white, the visuals play out like some beauty and the beast tale, set against the backdrop of a haunted cemetery. We can only hope ABC’s band plays Friday in those skeleton suits.

Reminder: Port O’Brien is one of the openers (Sara Lov is the other), and I fully endorse the band’s new album Threadbare.

Kurt Vile: Freak Train (video)

Though I spent the better part of Tuesday’s Kurt Vile show at Modified lamenting my habitual inability to remember earplugs, I couldn’t help but be pulled in by the lo-fi psych-rock of Vile & the Violators.

The songs, mostly from his 2009 LP Childish Prodigy, went from loud to louder – riding a crescendo of feedback and distortion. I’m not sure I buy the comparisons to Tom Petty and Neil Young. A more apt (and modern) peer might be something along the lines of The Black Angels – mop-haired stoner jams for a new generation.

Even better, Vile takes a tune like Freak Train – “this one’s a big hit for us on the charts,” he says, jokingly, through his curtain of hair – and anchors it to a pulsating 808 beat, adding a saxophone flourish for good measure.

Weezer: Live in San Diego, 2001

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I came across this excellent bootleg last week, which finds power-poppers Weezer at a pivotal time in their musical evolution: Following the extended hiatus that befell the band after the commercial failure of Pinkerton, this show features the band blasting out old favorites and debuting songs from the soon-to-be-released Green Album, live in 2001 to a ravenous San Diego audience.

At this stage, it was hard to say exactly where Weezer were headed artistically, but I remember friends ditching school the Tuesday Green came out to run to our town’s lowly record store to pick it up.  I waited till after class, but it was one of the first times I felt important buying a record. I was a member of the cult that had sprung up following the Pinkerton fiasco – one of the nerdy rock kids who took all my cues from that tortured art-pop masterpiece and its predecessor.

This set finds them rocking the Green tunes a lot harder than they ended up on the record, and the songs from Blue and Pinkerton sound energetic, as do a couple of pretty fantastic non-album tracks like “You Gave Your Love to Me Softly” and “The Christmas Song.”

We know now that following Green‘s detached nonchalance, the band tried on cheeky pop-metal with the disjointed Maladroit before sailing into Top 40 waters with the subsequently terrible Make Believe and Red Album Their new record, Raditude, out Nov. 3, features the band at their absolute worst (despite that it’s sleeved in my favorite album cover of the year).  Even “Can’t Stop Partying,” featuring Lil’ Wayne, isn’t interesting in the batshit-crazy way most things involving Weezy are. Instead, it feels lazy, and even insulting as Rivers Cuomo deeply mocks the genre he’s trying his hand at.

But let’s forget that for a moment, and take a listen to a time when it felt like Weezer were about to return home and take their rightful crowns as kings of dork-rock.  The fact that they didn’t is inconsequential – listening to these tunes it’s easy to imagine a parallel universe where Weezer still cared about their sweater clad, horn-rimmed followers, blessing them with hair metal guitar solos and earnest melodies, bestowing on their listeners a sincerity they’ve abandoned in reality.

[ZIP]: Weezer | Live in San Diego, 2001 (17 tracks, 65.1 MB)

TRACKLIST:
1. I Do
2. My Name is Jonas
3. El Scorcho
4. You Gave Your Love to Me Softly
5. The Good Life
6. The Christmas Song
7. Island in the Sun
8. Don’t Let Go
9. Hash Pipe
10. In the Garage
11. Tired of Sex
12. Say it Ain’t So
13. Buddy Holly
14. Undone (The Sweater Song)
15. Why Bother
16. Only in Dreams
17. Surf Wax America