December 1, 2015

12. The Things We Do To Find People Who Feel Like Us / Beach Slang

The Things We Do To Find People Who Feel Like Us

We are young and alive!!

Ah yes, the intoxication of youth.  Played out thousands of times in the annals of rock music.  Beach Slang's 26-minute contribution to the fist-pumping genre is superb, a power-pop race to beat the sunrise, and with just enough punk snarl to keep you focused on the task at hand: go hard because it ends all too quickly.

Formed in Philly in 2013, Beach Slang consists of James Alex (vocals, guitar), Ruben Gallego (guitar), Ed McNully (bass), and JP Flexner (drums).  On their debut full length, arguably the best rock record of the year, the band rips through a blistering but melodic set of guitar rock with nods to everyone from The Replacements to Japandroids.  The underlying melodicism, reaching dreamy levels in parts, hits a continuous sweet spot, raucous but imminently listenable.

We're allowed to be alive!!

13. Every Open Eye / Chvrches

Every Open Eye [LP]
Every Open Eye is a vibrant follow-up to the Scottish band's impressive electro-pop debut.  With only keyboards, electronic drums, and the occasional bass line, it is impressive to sound even bigger on the sophomore effort.  The trio's cold bursts of brooding synth-rock are as brisk as the clearest winter sunrise.  But there is something hopeful in the music, too, an understanding that the sun will warm things up eventually.

Make no mistake, this is Lauren Mayberry's show, her pixie beauty and lilting voice carrying Chvrches into the mainstream.  Her increased confidence is on full display during the band's kinetic live show: she moves, marches, waves, and sings with the authority of a woman who will not back down.  Though small in stature, her vulnerability is a strength as she winds her way through the song's break-ups, make-ups, and wise-ups.  After gracefully dealing with the worst of social media trolls since her rise to fame, she has positioned herself as a thoughtful voice on women's issues.

Chvrches accessible sound appeals to many audiences, which explains the band's meteoric rise from the blogosphere.  It speaks to 80s synth pioneers, EDM fans, club hoppers, and young women looking for something just a little more alternative than Taylor Swift.  It also speaks to listeners who enjoy a catchy pop hook and a beautiful voice, which should be just about everyone.

14. + -- / Mew

+ -
Mew.  Denizens of Danish dream-prog.  Back with their first album in six years.  The band's past two records were year-end Top Ten material, and + -- deserves the same consideration.  An impeccably produced, original, and life-affirming album, the strange songs soar with what can only be described as a deep sense of compassion.  The D Man's review of Mew's recent live show best sums up the record and the current state of the band, so check it out here.

15. Elaenia / Floating Points

Elaenia (180g vinyl)
Floating Point's Sam Shepherd created an almost indescribable album.  Soul-jazz abstractions.  Studied synth excursions.  Ambient dance compositions.  Post-rock divinations.  If Miles Davis or Herbie Hancock had come of age under the watchful eye of British dubstep, this is the retro-futurist record they may have come up with.  But even that theoretical prediction falls short.  A prodigious child pianist and musician who grew up singing in the Manchester Cathedral Boys Choir (and where they still perform his early choral works), Shepherd, only in his 20s, produced something utterly singular with Elaenia.

A prolific presence in England's dance music scene since 2009, Shepherd's debut as Floating Points features an ace collection of players ranging from Afro-punk bassist Susumu Mukai, multi-instrumentalist Alex Reeve, Hot Chip drummer Leo Taylor, house luminary Matthew Herbert, and Tom Skinner (accompanist to Jonny Greenwood when he is not doing Radiohead).  As one critic noted, "the music they make together is loose but meticulous, grand though never bombastic."  It all merges into a science-fiction experiment gone perfectly, perfectly right.

Shepherd obtained his Phd in neuroscience from London College, where he studied epigenetics and the science of pain, but he left his research to pursue his sought after DJ sets and elegant, multi-disciplinary musical compositions.  The D Man is not well-versed or skilled enough in composition theory to adequately describe the record, although I am fully equipped to appreciate its allure.  Rhythms are unorthodox.  4/4 time signatures are few and far between.  Live percussion underpins meandering threads of synthesizers, bass lines, guitar weaves, and other instruments that I can only pick up by reading the liner notes.  It is a heady but instantly accessible record that bears repeated listens.  The ten-minute centerpiece, "Silhouettes (I, II, III)," may be one of the most vital tracks of the year for where it takes the music of today.  So it goes with the rest record.

16. Fading Frontier / Deerhunter

Fading Frontier
On album opener "All the Same," Bradford Cox sings take your handicaps, channel them and feed them back, till they become your strengths.  Deerhunter do just that on Fading Frontier, the band's shimmering and diverse seventh studio album.  Retreating from the sneering garage rock of 2013's Monomania, Deerhunter embrace what they do best: woozy, gorgeous psyche-pop, while reveling in Cox's outsider spirit and caustic charm.  As with 2010's Halcyon Digest, nobody does it better.

"Breaker" glows into a warm, Beach Boys-esque chorus, recalling washed-out bedroom pop of the 60s.  "Duplex Planet" skitters into a keyboard-drenched epiphany.  "Take Care" totally spaces out, its building intricacies seemingly so effortless, demonstrating the band's inherent feel for polished, liquid psyche-rock.  "Snakeskin" slithers into weird 70s funk and sounds unmistakably like a band in full command of their considerable range.

Cox was seriously injured in a car crash in December 2014, and this is his first record since the accident, which he claims "provided a perspective giving jolt" and "erased all illusions."  There is a sense of urgency throughout the record, and a new wide-screen perspective is best heard on "Living My Life," one of the year's best tracks.  The music swells with sonic optimism as dark skies barrel in:

I'm off the grid, I'm out of range
And the amber waves of grain are turning grey again
The darkened stage and the infinite waves
Distance can change fate
I'm out of range again.

While hoping to keep the darkness at bay through detached distance, Cox finally asks the pressing question on his mind: Will you tell me when you find out how to conquer all this fear? / I've been spending too much time out on the fading frontier.  Cox seems to answer by clinging to the only mantra that will get him through: I'm living my life, I'm living my life.  When the storm is raging, isn't that all we can really do?

17. The Waterfall / My Morning Jacket

The Waterfall (Deluxe)
The Waterfall is My Morning Jacket's best album since 2005's Z.  It is a cohesive and era-eschewing exercise in Americana and rock'n'roll, saturated in the band's affinity for folk, rhythm and blues, and psychedelia,  Jim James weaves his mind-body-flow threads after a difficult breakup and his message is as crisp as the record's production: open your eyes, release your heart, and flow with the river until you drop into that metaphysical love somewhere below the rocks.

The record contains everything the band does well: there are anthemic arena sing-a-longs ("Believe," "Big Decisions"), left-field rockers ("Spring,""Tropics"), R&B-inflected grooveouts ("Compound Fracture"), falsetto love songs ("Thin Line"), acoustic apologies ("Get the Point"), and exquisite, extended guitar jams ("Only Memories Remain").  James' lead vocals have never been stronger, ranging across multiple genres and deliveries, infusing a sense of lessons-learned optimism into each song.  Carl Broemel's guitar leads are as inviting as your neighbor's front porch, as usual, and the band's keyboardist, Bo Koster, deserves special mention for providing the best work of his career, driving texture and vintage atmosphere into many of the tracks.

Recorded at a hilltop studio in Stinson Beach, California, and featuring artwork depicting Vernal Fall in Yosemite, James described the record's naturalistic imagery:

It's related to being connected to nature.  Literally being surrounded by trees and creatures every time we walked out of the studio doors.  Every evening around sunset we would stop what we were doing and walk outside to watch the sun descend, like an enormous egg yolk slowly smashing down in a psychedelic wash of color, much like the colors of the waterfall on the album cover.  Those images, the smell of ocean air and the openness of it all, seeped into every aspect of this record.

The end result is an aural depiction of nature's regeneration.  The wounds we receive are real, the band reminds us, but we receive healing through faith, togetherness, and appreciation for the narrow seasons we get to spend together.

18. Strangers to Ourselves / Modest Mouse

Strangers to Ourselves
Freakouts, follies, and fallouts.

Modest Mouse's Strangers to Ourselves, the band's first record since 2007, is a whirly-gig pop venture where the center (surprise!) cannot hold.  While Isaac Brock's songwriting teeters at the edge of the absurd, he fearlessly clings to his emotional and intellectual honesty, and his doomed-planet diatribes, poetic and fierce, find fertile ground in this collection of guitar rock oddities.

The indie titans long-awaited return is welcome.  Strangers features the usual gonzo guitar workouts and weirdo vocal theatrics from Brock, but the arrangements brim with new ideas and crackle with intensity, the result of a more fulsome production and instrumental accompaniment than anything the band has done before.  Yes, the increasingly polished approach since 2004's popular breakthrough Good News for People Who Love Bad News has led some to wonder what happened to the inspired frenetics of the band's early, raw efforts.  Long gone are the days of skewed and spare dynamics ala The Lonesome Crowded West.  Put simply, Modest Mouse will never sound like this again.

Too easily dismissed in this discussion, however, is that the band now contains superior individual musicians than in its underground heyday, which includes the stunning growth of founding members Brock and Jeremiah Green.  Brock is a bona fide guitar wizard with an instantly distinctive space-cowboy feel, while Green's varied work on the kit breathes life into the bizarro pop songs.  As a result, Strangers delivers complex arrangements, heady background vocals, and strings, horns, and other assorted instruments for a full-bodied sonic experience that should be appreciated on its own merits without the baggage of classics like The Moon and Antarctica.

"Lampshades on Fire" is the band at its headlining best, a populist mishmash carried by Brock's carnival barker persona.  "The Ground Walks, with Time in A Box" dives right into the crowd, a slinky rocker masquerading as the band's first dance track.  In the often uninspired slew of indie rock, these two tracks are as interesting as it gets for widespread iTunes consumption.

The band still gets crazy, of course.  "Pistol (A. Cunanan, Miami, FL, 1996)" is the creepiest, warped-out song you will hear all year, depicting the mind of the madman who killed Versace.  "The Turtle and The Tourist" is a raging guitar mess, and sounds totally nuts in the best of ways.  "Coyotes" is actually quite pretty as Brock sings about, well, coyotes.

My favorite tracks hit square between oddball and accessible, with Brock's incisive lyrics firing on all cylinders, his opening lines summing up his existential dread: "Pups to Dust" (Our hearts don't change from pups to dust / Couldn't see clearly, but I had a sense of what right and wrong was); "Sugar Boats" (This rock of ours is just some big mistake / And we will never know just where we go / Or where we have came from); "Wicked Campaign" (Well I just found the fence where I am going to lean / Take my handkerchief out and rub my eyeglasses clean).  Brock's struggles with our opaque world speak to me, and when they are driven through the band's spiraling, off-kilter jams, they help me release pent up energy and exorcise any inexplicable demons.

19. 1989 / Ryan Adams

1989
There is no irony in Ryan Adams' faithful reinterpretation of Taylor Swift's world-beating collection of pop songs from 1989.  It is clear that Adams admires the strength of the source material.  In response to Swift's tweeted wonderment about news of the project, he replied: Just finished Style.  Badass tunes, Taylor.  We're sandblasting them and they're holding steady.  Though some have winced at the seemingly too-cute play for attention, Adams' sure-handed feel for a great hook or a little songwriting moment makes the pairing too obvious in hindsight.  His keen grasp of almost every guitar-based styling - from power-pop to folk-rock to balladeering - suits Swift's material just fine.

1989 is not a poetic deconstruction in the vein of Mark Kozelek's AC/DC or Modest Mouse albums. Rather than completely reimagine (and sometimes surpass) the source material, Adams stays true to 1989's original intent, keeping the melodies largely intact while playing with tempo, texture, and tone.  That said, Adams cannot help but run the tracks through his wistful, past-the-heartbreak prism, long practiced over the course of more than a dozen solo albums.  Where Swift's renditions capture the fleeting climax of youthful exuberance, Adams' takes evoke a self-aware melancholy--things may not have worked out but it was worth trying.

Most listeners wanted to hear what he would do with the huge singles.  "Blank Space" is a soft-picked torch song, slowed down and sung in Adams' plaintive register as gentle strings and keyboards arrive and the whole thing simmers into a sad-eyed folk ballad.  "Style" is an 80's rock stomper, where Adams apes his Replacements influence and goes straight for broke, loose change rattling after too many drinks at the arcade, resulting in a solid but by no means perfect attempt at reaching the original's neon pop glow.  "Shake It Off" is a pensive, late-night affair.  The sticks hit the kit and the keyboards chime in, but there is never a release like the original.  Everything is pent up and frustrated, belying the song's supposedly feel-good, move-on mantra.  "Bad Blood" is the best cover of the big hits, a mid-tempo rocker that shows Adams at his sturdy best.

The real treats are the deeper cuts, if you can even call any track on 1989 such a thing.  "Welcome to New York" opens the album with glistening guitar pop, throbbing with energy and hope and a chance that everything may come together.  "Out of the Woods" could have easily fit on Ashes & Fire, a straightforward, folk-tinged plea for hanging on just a little longer, as it builds to a lovely stretch of violins, keyboards, and guitar strums.  "All You Had To Do Was Stay" is my favorite track on the record, probably because it is the precise intersection between Swift's buoyant electro-pop and Adams' unfussed guitar rock.

20. Eclipse / Twin Shadow

Eclipse
Twin Shadow reaches for the girls at the back of the arena, and he almost pulls off the transition from nu-wave wunderkind to big-tent populist.  Though third album Eclipse is not as strong as its predecessors, George Lewis Jr. sheds all pretension and runs for the strobe lights, trading in icy synths and subtle guitar work for thumping bass lines and club-ready choruses, with the end result somehow just as seductive.

Lewis's late-night romanticism permeates the record, although this time he packages everything in bombast.  The big songs and production typically suit him well, but there are a couple of forgivable misses.  His voice reaches new climbs on tracks like "To the Top," which happened to be one of my boys' favorite tracks in 2015.  We pumped the power ballad with windows down on more than one occasion.

Equally as impressive, "I'm Ready" aims to be the millennial version of "In Your Eyes," replacing the boombox on the shoulders for the wave of an iPhone.  The song's distorted guitars and synths eventually give way to a rising piano line, where Lewis's solitary voice builds to the chorus payoff: I'm right here, I'm ready, I need this love!  With the hero's Camaro idling in the parking lot, it is ready-made for that perfect moment in your favorite WB drama.  But the song's strength comes from the obvious fact that it does not give a flying you-know-what about its utter earnestness.

"When the Lights Turn Out" and "Old Love/New Love" are enjoyable club bangers, while "Flatliners" and "Locked & Loaded" occupy more interesting emotional territory.  "Turn Me Up" is a well-executed slow R&B jam, and the track is better than anything on Prince's last album, for whatever that is worth.  Some fans of Twin Shadow's first two records bemoaned Eclipse's new soul-pop direction, but it is an unapologetic detour that found its way straight into my car stereo.

November 10, 2015

Some of the Reasons I Will Always Be a Member of the Church (Just From the Last 90 Days of My Life)

Out beyond ideas of wrongdoing
and rightdoing there is a field.
I'll meet you there.

-Rumi

This is MY story. I will get very personal. Be gentle.

In the past few days, I have read comments from people I know and care about (and candidly, some I don't know or care about) regarding Church policies.  Some have said nasty things about people, doctrines, and viewpoints that I cherish.  Everyone had a "hot take" on the subject, a curse of the digital age, I suppose.  Some were well-considered, many were ill-conceived.  I'm not interested in your hot take.  I'm much more interested in your deliberate, thoughtful, and generous take.

So here is mine.

Just from the last 90 days of my life.

A postage stamp-sized sampling of my experience as a devoted member of the Church.  Written in just 90 minutes while I stop billing my clients at an outrageous hourly rate.  My life's experiences have been too rich and varied to discuss in one quick blog post.  For example, I could write two volumes about my experience as a missionary in South Africa and Namibia.  It was powerful, heartbreaking, and ennobling, often all within the same day.  In other words, my African experience was NOTHING like The Book of Mormon musical.  But I digress.

The past 90 days.

Three months ago, I wired money to my dearest black friend in South Africa.  I love and care about him like a brother.  He recently graduated with his MBA, but has been without a job for far too long.  He lost his home.  He lost his car.  He moved back in with his Mother.  He has suffered indignities and difficulties that no well-meaning, faithful individual should have to experience.  I have seen him cling to the Gospel in his hour of need.  I have seen him scrape and claw at the bark, grasping for any hold.  It has been soul-stretching.  There are no easy answers. 

In September, my family spent the night at Shelley’s brother’s home in Las Vegas while on our way to Disneyland.  He is gay, lives with his partner, and works at Chanel in the Wynn.  He knows we do not agree with his lifestyle or some of his choices.  It goes without saying.  But he has full fellowship in our family circle, and he has blessed our life in profound ways.  We love him.  He has a keen eye for blowhards and other sorts of B.S.  He cares about our children and enjoys hearing about their adventures and mishaps.  He often draws upon a deep reservoir of thoughtfulness and service to our benefit.  He is caring in unique ways that others easily overlook.  When his mother was dying of cancer 18 months ago, he cared for her with deep affection and performed small miracles that will resonate forever.

In the morning, his partner already had breakfast going for us: pancakes, eggs, bacon, sausage, orange juice, you name it.  My kids went swimming in the pool out back.  We talked about the things that people talk about.  Just last week, his partner came by our house in Lehi for a few minutes to see our new poodle.  It sounds stereotypically gay, I know, but it was a lovely moment.

A few weeks after our trip, my five-year old son Evan was brutally sick.  He had been throwing up violently well into the night.  I went into his room after 1:00 a.m. and laid my hands on his head to give him a priesthood blessing.  When I closed my blessing, my eight-year old son Colin, who I thought was sleeping in the other bed, said, “Amen.”  My heart soared.  And Evan slept through the night.

When Shelley and I conjured up a rare fight a few days later, we yelled some things we shouldn’t have.  After seething in my room for an hour, and after Shelley came back from a spin in the minivan, I finally mustered the courage to apologize first.  We held each other.  We loved each other.  She means everything to me.

I am the Executive Secretary in my ward.  I help organize my Bishop's schedule.  In the past month alone, I have seen my Bishop minister to women in the throes of difficult divorces, give spiritual counsel to those dealing with difficult children, provide welfare assistance to the poor, and spend countless hours worrying over, praying over, and assisting our fellow ward members.  Driving back in his truck from a 100-mile bike ride that we enjoyed together, my Bishop accepted a collect call from a ward member who is currently in jail.  He provided comfort and advice to this struggling soul.  In all of this, he has thought very little of himself, and he certainly hasn’t been compensated for his time.  Unless you believe in that treasures in heaven stuff.   

I have seen my good friend Jason (a dentist and our Elders Quorum President) make visit after visit to brothers in our quorum, some disaffected, some even well beyond that point.  He goes the extra mile to ensure that we love them and will meet them wherever they are.  In my recent visit to the family we home teach together, I witnessed the power of the Spirit in their lives.  The husband is not a member of the Church, but he enjoys our visits and we have become friends.  I have seen his confidence and participation in our neighborhood increase.  Maybe he will never join the church.  Or maybe he is simmering in the crockpot waiting for just the right time.  Either way, we will love him. 

Just last Sunday, I listened to a 77 year-old woman give a beautiful talk on forgiveness.  Her husband had walked out on her and her five children more than 25 years ago.  She spoke about her long journey to find healing.  She found it through the grace of the Atonement.  In recent years, her grandchildren have been peppering her with questions about their grandfather.  They want to know what he was like.  They want to know his story.  Consequently, this dear, gray-haired sister has decided to write his personal history.  He has no other family to do it.  She decided that only she was fit to write his story, and she could do it with the measured compassion that she has found from the Lord.

Finally, it gets real personal.  Shelley and I have been struggling over whether to have our fifth and final child.  We have had many things to consider, not the least of which is the physical, emotional, and spiritual toll on Shelley from another pregnancy and newborn.  Her devotion to her role as a wife and mother, and her sacrifices to create our beautiful children that we love without measure, has been one of the most awe-inspiring things I have seen.  Messy, difficult, heartrending, and glorious.

So on November 1st, on what we call Fast Sunday, I fasted and prayed to know the mind and will of the Lord.  Should we have another baby?  Is it right for Shelley?  Is it right for us?  I pleaded to hear the voice of God in my life.  If I ever wanted a divine answer, this was the time.  It was too important.  And I let the Lord know that in no uncertain terms.

After attending Bishopric and sacrament meetings, and after running Caroline home for her nap, I found myself sitting on the hard metallic chairs in the cultural hall listening to our Elders Quorum instructor.  My mind was drifting somewhere else.  My heart was silently searching.  Right then and there, I experienced one of my most powerful encounters with the Holy Ghost.  It consumed me.  My heart and mind overflowed with love and knowledge.  I heard the Lord in his all-encompassing way:  Darren, it is a good thing.

So there it is.  Just the past 90 days.

In all of these experiences – and I mean all of them – my interactions have been shaped and formed by my deep and abiding faith in the Lord Jesus Christ.  My choices are often derived from His living waters and the natural way they flow to my heart, body, and mind.  I believe in God and His Holy Son.  I believe I lived before I was born.  I believe I will live after death.  We are eternal beings with eternal destinies.  I also believe that God restored his kingdom one final time before He winds things up.  He dispensed his keys to the prophets.  They are his faithful custodians.  Though fallible, indeed, the “weak things” of the world as God would have it, they are overwhelmingly good, caring, and Christ-centered.

We are asked by the prophets to align ourselves with Christ's commandments.  His commandments will lead us to happiness and away from estrangement.  To the woman caught in adultery, Christ condemned her sin without condemning her forever: "Go, and sin no more," He said (John 8:3-11).  So it goes for each of us.  To deny our power to change and conform our lives with His ways - aided by the ennobling power of his grace - is to deny the very power of the Atonement, that infinite act of love and mediation that underpins the entire cosmos.

Given these realities, in my view, whether I agree with a given policy is really beside the point, although I am empathetic to those who have a difficult time seeing its intended wisdom or may be impacted by its short-term parameters.  Even if it proves to be a misstep (and I do not believe that will be the case), it is certainly “no reason to reject the Restoration, with its glorious promises of hope beyond the grave, eternal family unions, and full, exalted fellowships with the Gods.”  I know too much.  I have seen too much.  I have had the fleshy tablets of my heart shaped and reshaped over and over again.

There is a field.

Will you meet meet me there, too, since you have been asking for the same consideration?  We may ultimately disagree on the ordering of the Universe and the right way to order our lives.  But we can embrace nonetheless.

October 11, 2015

My Morning Jacket

The Cubs win.  Jim James shreds.  A night to remember.

The D Man and Stark the Vinyl Shark downed some cheesesteaks and wings as the Cubs handled the Pirates in the wild card playoff.  Then we made our way to the Complex for a night with Louisville's finest rockers, My Morning Jacket, now an American touring institution.  The band recently played an epic, career-spanning set at Red Rocks, and the band's wide-open guitar rock, with flourishes of southern soul, alt-country, and folk rock, is unmistakably their own.

 From fledgling, opening band in a small club all the way to festival headliner in front of 30,000 people, The D Man has seen My Morning Jacket four times.  This time around, the band played in front of a packed indoor venue, which was obviously filled with longtime fans.  MMJ's setlist varies from night to night, and we were treated with some choice cuts.  Opener "Believe," from this year's The Waterfall, bursted with faithful optimism in the face of the unknown.  Back-to-back songs from Z, celebrating its tenth anniversary this year, personified the records spacey jams; "It Beats 4 U" and "Wordless Chorus" were early highlights.  A strong rendition of "Circuital" followed.

The band spent 12 minutes simmering and then roaring through "Dondante," the heavy closing track from Z.  Carl Broemel set down his axe for the saxophone, drawing out pain-soaked notes during the song's finale.  James went solo acoustic for "Get the Point," perhaps the most direct but respectful break-up song of all time.  The surprise of the night came with the opening notes of "I Will Sing You Songs," the glorious, reverb-drenched track from 2003's It Still Moves.  It sounded brilliant, and Stark the Vinyl Shark's only regret was that it didn't wander long enough into an extended jam, the sweet spot was so exquisite.

The five-song encore was legit.  "Victory Dance," with its rallying, keyboard war cries, bested the album version by leaps and bounds.  "Compound Fracture," my favorite song from the new record, crackled with a groovy, R&B feel.  "Off the Record" rocked, of course, and "Touch Me I'm Going to Scream Pt. II" extended into dark, bass-heavy dreaminess.  Thinking that was a fitting end to the show, I thought to myself that we may have missed out on one of the classic titans from It Still Moves, still my favorite MMJ album.  Much to my delight, the band ripped into "One Big Holiday," and the last hammer dropped.  One of this century's great American rock songs, OBH drilled home a simple truth: we are lucky to have MMJ playing somewhere, night after night.

October 3, 2015

Mew


My mind turned to theosis at one point during the show.  How is that for a pop concert?  The reaching, the yearning, the potential--five human beings on stage exploring possibilities through sound and movement, engaged in a communal and hopeful artistry that was deeply moving--somehow all of it left me thinking about our eternal destinies.  Jonas Bjerre's impossible falsetto is difficult to describe without using words like heavenly, of course, and it will pierce your heart and turn your cynicism to musical mush.

Rip called Mew one of the five best live shows he has seen.  Rizzo brought up Van Gogh and the under appreciation of artists who do not swim with the current.  The D Man echoed their sentiments, thrilled to have seen such an epic show with about 300 other people.  It was the Danish band's first ever appearance in Salt Lake City, and they all seemed genuinely pleased with the raucous reception.  That said, it is still perplexing to see musicians that accomplished in such an intimate setting.

Mew once referred to themselves as "the world's only indie stadium band."  The show on Friday night proved as much.  They sounded HUGE.  Soaring.  Beautiful.  While Mew have certainly played massive venues in Europe, headlining the Roskilde Festival twice for example, the dream-pop heroes are often relegated to clubs and theaters in the United States.  The result is like seeing U2 in a small venue--it feels both incongruent and amazing.

The band opened with a ripping version of "Witness" from their new album + -.  Then "Special" transitioned into "The Zookeeper's Boy," easily the best falsetto rock song of all time.  "Introducing Palace Players" was potent, as any longtime fan would expect, and "Sometimes Life Isn't Easy" was brilliant, long one of The D Man's favorite deep cuts.  New singles "Satellites" and "Water Slides" were also superb.

Whimsical and wholly original, Mew makes records that defy explanation but hit the pleasure button track after track.  They curb prog-rock's pretensions with gorgeous melodies and an earnestness that makes them the uncoolest cool band on the planet.  They may never play Giants Stadium, but one thing is certain: it would be bigger (and better) than watching an aging Mick Jagger strut around.

September 2, 2015

Concerts

The D Man has attended over 100 shows, likely passing the century mark in the last year or two.  In an attempt to capture every show from memory, I have listed them here, undoubtedly missing a few.  Countless opening bands are not included, so a few noteworthy performances go unacknowledged.  If I have seen a band more than once, I have included the number in parenthesis.  If I have seen the band outside the Beehive State, I have noted the location.

Truth is, looking at the list, I have mostly seen everyone that I love (and that I had a realistic chance of catching).  My glaring omission is Radiohead.  To be rectified someday.  Sigur Ros, M83, Jens Lekman, Twin Shadow, and Wild Nothing are also on my "must see" short list.  Fortunately, I will be enjoying Destroyer and Mew this October!  A few embarassments sprinkle the list, of course.  You decide.  But Britney Spears is not one of them.

  • Andrew Bird
  • The Antlers
  • Arcade Fire (2) (Los Angeles)
  • Arctic Monkeys
  • Avett Brothers (2) (New Orleans)
  • Beach Boys
  • Beach House (2)
  • Band of Horses (3)
  • Beck (2)
  • The Black Keys
  • Bon Iver
  • Brit Floyd
  • Britney Spears
  • Chicago
  • Coldplay
  • Counting Crows (2)
  • Cut Copy
  • Chvrches
  • Dashboard Confessional
  • Dead Weather
  • Death Cab for Cutie (2) (Columbus)
  • Destroyer
  • Doves
  • The Drums
  • Elbow
  • Flaming Lips (3) (Columbus)
  • Fleet Foxes
  • George Strait
  • Grizzly Bear
  • Foo Fighters (2)
  • Future Islands
  • Guster (2) (Columbus)
  • John Mayer (2)
  • Kurt Vile
  • The Hold Steady
  • Iron & Wine
  • Interpol
  • The Killers (New York City)
  • Kings of Convenience (2) (Columbus / Los Angeles)
  • Lionel Richie
  • Live
  • Loney Dear
  • Matchbox Twenty
  • Matt Pond PA
  • Mew
  • Midnight Oil
  • Modest Mouse
  • Morrissey
  • My Morning Jacket (3)
  • The National
  • Neil Young
  • The New Pornographers
  • The Oakridge Boys
  • The Pains of Being Pure at Heart
  • Passion Pit (2)
  • Paul Simon (Los Angeles)
  • Pearl Jam (2)
  • Pete Yorn (3)
  • The Police (2) (Las Vegas)
  • The Postal Service
  • Rage Against the Machine
  • Ryan Adams (3) (Columbus)
  • Real Estate
  • Silversun Pickups
  • Snow Patrol (2)
  • The Stills (Columbus)
  • Sting (4) (Columbus / Los Angeles)
  • Surfer Blood
  • Sufjan Stevens (3) (Mesa / Portland)
  • Sun Kil Moon (3) (Randy's backyard)
  • 311
  • Toad the Wet Sprocket (3)
  • TV on the Radio (2)
  • U2 (2)
  • Vampire Weekend (2)
  • Van Halen
  • The Walkmen
  • Weezer
  • Wilco (Columbus)
  • Winger

July 21, 2015

Song of the Week

b'lieve i'm goin down
In September, Kurt Vile will release his sixth solo album, b'lieve i'm goin down ....  The guitar maestro, hair dangling in his face, cannot be bothered with anything but vibes and grooves.  Check out his new video for "Pretty Pimpin," which perfectly captures his ethos: down home, blissed-out introspection.

July 19, 2015

One Week, Two Good Concerts: Death Cab for Cutie & Morrissey

Morrissey is still the king of mope rock, if only in his mind.  "Once a panther, always a panther," he exclaimed when he strolled onto the stage Saturday night.  Some of his loyal fans went apoplectic during his excellent set, including one middle-aged man who tried to rush the stage and was tackled by a well-placed and yoked security guard.  Flowers were thrown, arms were waved, and Moz embraced the love like a silver fox summoning his ambiguously sexual prime.

Ever the showman, Moz subjected the audience to 30 minutes of random video clips before he took the stage.  Live performances by The Ramones, Ike & Tina, and other artists were interspersed with strange stand-up comics, civil rights activists, and a poetry reading by Anne Sexton.  During "Meat is Murder," he showed a montage of slaughterhouses that would make even the most strident carnivore reconsider.  He has always enjoyed his bully pulpit, of course, and he continued his long-running feud with the monarchy and his current feud with Ed Sheeran with a series of pointed barbs.  In other words, he was feeling pretty good last night.

He sounded great.  His distinctive, theatrical voice, so decidedly British, was strong and smooth, having lost none of its verve over the years.  His band was superb, and they seemed to play his material with a more rock-oriented sense of urgency, slicing through his melodic vocal arches with blasts of guitars, drums, and keyboards.  Even some of his newer material, essentially unknown to The D Man, was interesting and mostly exciting.

He opened with "Suedehead," one of my all-time favorite solo tracks, and then moved into surprisingly sharp versions of "Alma Matters," "Staircase at the University," "Ganglord," and "Speedway."  The crowd loved "Now My Heart is Full," which anchored the middle of his set, and soaked up a three-song Smiths run of "Stop Me If You Think You've Heard This Before," "What She Said," and "Meat is Murder."  He closed the set with "Everyday is Like Sunday" before an encore of "The Queen is Dead," an unflattering picture of Queen Elizabeth splayed across the screen behind him.  Such is life with Morrissey: abrasive and charming, petty and funny, emotionally complex, often mean-spirited, but always someone singular.

*****
Death Cab for Cutie has largely been abandoned by early indie adopters, which is another way of saying that its audience is now massive.  Some have moved on from the band's emotionalism as a badge of honor, leaving Ben Gibbard's incisive but sometimes overwrought lyricism to a larger fanbase.  Though newer fans may not know tracks from The Photo Album, they certainly know everything from Plans forward, and the 30,000 people that packed Pioneer Park reveled in the band's stadium-sized show regardless of initiation.

Truth is, the band's new album Kintsugi (and eighth overall) has moments as sharp as any previous material, even if it does not reach the cohesive, OC-emo heights of Transatlanticism.  Gibbard and his bandmates, minus founding member Chris Walla, were as polished as their buoyant melodies deserved, and their setlist was tailor made for popular sing-a-longs culled from across their catalog.

"No Room in Frame" opened the show, a highlight from the new record, and was followed by "Crooked Tooth," "Photobooth," and "Black Sun."  The band sandwiched a hard-hitting version of "The Ghosts of Beverly Drive" between two career high-points in "The New Year" and "Title and Registration."  Other highlights included a gorgeous rendition of "What Sarah Said," with Ben Gibbard behind the piano, the bubbly guitar interplay on "You Are a Tourist," and the outsized audience participation alongside "Soul Meets Body."

The encore was just about perfect, ending with some of Death Cab's best songs from their best three records, i.e., The Photo Booth, Trasatlanticism, and Plans.  A floating, space-kissed "Passenger Seat" wafted over the crowd, almost making the experience borderline intimate.  "We Laugh Indoors" was the only acceptable alternative to "A Movie Script Ending," and its buzzy, curly cue guitars sounded terrific.  The running chorus of "Marching Bands of Manhattan" soared, as would be expected: sorrow drips into your heart through a pinhole! Then, as the summer night seeped to an end, ticking synth drips of water turned into the memorable piano chords from "Transatlanticism," the band's yawing ode to star-crossed lovers.  Gibbard moved through the emotional watershed of the initial verses and then left the piano for a final, guitar-strewn sendoff: I need you so much closer!  So c'mon!

It was somewhat predictable stuff, sure, but nevertheless fulfilling.  Sort of like the band itself.  If there is room for heart-on-your sleeve, accessible pop music, that makes you feel a step smarter than listening to Neon Trees or Imagine Dragons, then there is plenty of room for Death Cab for Cutie.  Any new fan could tell you that.

July 12, 2015

Song of the Week

dan-bejar

The D Man has a bunch of summer vibes to catch up on.  But the new Destroyer song/video from the forthcoming Poison Season must be addressed first.  "Girl in a Sling" is a world weary, post-suburban sigh.  A sort of "Send in the Clowns," center stage soliloquy for the streetwise bard.  Few writers and vocalists can pull something off like this, and Dan Bejar was made for this type of lovelorn breakdown.

The video's director had this to say about the clip:

Bejar sings a lot about cities and girls and injury, sometimes all at the same time. Sometimes they are the same thing, as surreal novelists would have us believe. Besides, people like to see Dan sing—which he doesn't do a lot of in this video, but he does do a little bit. We wanted to make a video that dealt with central Destroyer themes: to some, Destroyer is a lech; to some, he is an arsonist; to some, he is a savior. To me, he is the consummate comedian, but he resists that role. So we decided to go the opposite way and make something sad, something tragic, something that fits the new record. The adage “comedy equals tragedy plus time” is attributed to Carol Burnett's mum. Or it might have been Steve Allen. Either way, I always want Dan to do physical comedy, but he resists. He's a natural, though. He's the Pacific Northwest's Buster Keaton, and I hope one day to share that with the world. One day. For now, though, there's just this sadness. This poison season.

June 8, 2015

Sufjan Stevens (June 8, 2015)


Dear Sufjan,

Thank you.

I first encountered you in a small record shop in Ohio.  I had read a blurb describing Seven Swans as if Dylan had attended Sunday School.  That was enough for me.  I picked up the album and changed my life.

The quiet magnificence of the record seeped into all of my private moments.  The trees of the field clapped their hands, yes, speaking to me in ways they never had before.  I understood the church yards, the sisters, and the Abrahamic sacrifices.  I woke up to hallelujahs.  I knew what it felt like to want to make that swim across Lake Michigan.  I kept the Devil at bay as your banjo steeped itself in life’s rich mysteries.

For the first time, a writer was not merely writing to me, he was writing for me.  On my behalf.  You depicted faith and hope in the Lord alongside life’s soul-wrenching but necessary struggles.  Your deft artistry was inclusive but personal, universal but hermetic.  You also sang about family: brothers, sisters, mothers, and fathers all grappling with love in the past and present.

I picked up Illinois while working as a summer legal associate in Phoenix.  I spent my first few weeks alone before my wife Shelley and our first-born son Dylan would join me.  I could not sleep after listening to the record all day: the cascading piano lines of “Concerning the UFO“ repeated in my ears, haunting and beautiful.  I rolled around in reverie too excited to drift away.  Your collection of songs were the most magical, fantastical, and wonderful things I had ever heard.  More than twenty listens in, “The Predatory Wasp” was still giving me chills. Significantly, the religious and mundane were not inapposite in your world.  They were part of the same narrative fabric, the stuff of life.  (The avalanche that followed was no different). 

Later in the summer, we left our baby with my Aunt Ila—Dylan’s first time away from his mother—so that we could see your show in Mesa.  The set was thrilling and the horns rang for days.  When you played your solo acoustic version of "Romulus” during the encore, I could see the faces of Annie Clark and other Illinoisemakers as they watched you from backstage.  They were standing on the edge of their toes, their eyes fixated in anticipation.  Their faces said, we are watching something special.

I embraced the left turn that is Age of Adz.  The kaleidoscope of sound and performance art collided during your appearance in Salt Lake City.  By the end of the show, I felt as if I had wrestled with demons and emerged victorious.  “Impossible Soul” left me spent.  As the closing guitar passage played, your voice left alone, I finally understood what you meant, although I could never put it into meaningful words.

Last spring, Shelley’s mother passed away from cancer.  She was only 56.  She was beautiful.  When I brought home Carrie & Lowell, I knew that Shelley needed to hear the record, but I could have never realized just how much she needed to hear it.  After we put our four children to sleep, we laid on our bed together and listened to the album from front to back.  In the dark we held hands as your gorgeous and devastating words pierced through the room, pierced through our grief, pierced through our hearts.  Shelley gently sobbed next to me.  I squeezed her hand.  You were describing all of the things she had experienced and felt.  You were saying things that even our own family members ignored or were too afraid to discuss with her.  It would not be the last time that your own journey through grief moved us to tears.  But it was a spiritual catharsis that we could have never found elsewhere.

So we flew to Portland to watch your performance on my 36th birthday.  It seemed like it was the only thing we could do.  To meet you at the crossroads of your own memories of your mother.  And to pay tribute to our own mothers, both living and dead.

As a devout Mormon, I believe that Christ rose from the grave and that we will see our loved ones again.  The prophet Joseph Smith declared in scripture that the same sociality that exists among us here will exist among us there.  Your music somehow captures this message.  It attempts to leap the universal gulf—in feeling, in hope, in quiet desperation—and in so doing, I hear from your words that I am not alone, and that we are not cast off forever.

So thank you again.

  1. Redford (for Yia-Yia & Pappou).  A swelling, instrumental beginning.
  2. Death with Dignity.  Arguably my favorite song on the record, the opening track stunned to silence.  Images from family home movies played on the columnar screens behind the five-piece band.  Children running in the surf.  Parties bustling in living rooms.  Tube socks and tank tops.  Mothers and fathers.  Brothers and sisters.  How do you move forward amid such loss?  Knowing that the past is now forever behind you? Spirit of my silence / I can hear you / And I long to be near you / But I don’t know where to begin / I don’t know where to begin.  
  3. Should Have Known Better.  During the second movement of the song, when Sufjan sings encouragement to himself, the synth profile bubbled and then crested like a wave.  My brother had a daughter / The beauty that she brings / Illumination.  Illumination.  He pointed to the sky as he repeated those words.  We understood.
  4. Drawn to the Blood.
  5. All of Me Wants All of You.  This song, surprisingly, sounded absolutely huge.  He infused it with cosmic pathos inspired by the Age of Adz.  The lighting was impeccable throughout the night, and it almost served as another character on the stage.  Kudos to the tech team for such a splendid and well-constructed production.
  6. Eugene.  Sufjan’s throat caught during one of this lovely song’s passages.  He had to wipe tears from his face.  Even this deep into his 2015 tour, there was a sudden surge of emotion that he could not anticipate.  It was clear that this music was not the sort of material that you could ever play without feeling, without passing through some of its profound depths and emotional turns.  It was touching in every sense.
  7. John My Beloved.
  8. The Only Thing.  The stage turned dark and the spotlight singled out Sufjan alone with his guitar.  The rendition was jaw-droppingly gorgeous.
  9. Fourth of July.  The album’s emotional centerpiece delivered what only a handful of songs have ever attempted to do.  By the end of the song, we’re all going to die crescendoed into something simultaneously frightening and hopeful.  Sufjan extended the final coda for an arresting emphasis that was not lost on anyone.
  10. No Shade in the Shadow of the Cross.  Devastating.
  11. Carrie & Lowell.  Though the song started out as an intricate folk-picking affair, with four band members holding a guitar or banjo, it finished in a flourish of electronica.
  12. The Owl and the Tanager.  Sufjan never said a word until he finished his Carrie & Lowell set.  "We can all breathe in and breathe out," he said to laughter.  "There is a lot of life and light in this room."  He shared some funny stories about his memories of Oregon and his recent stay in the city.  And then he threw on his hat to emphasize the change in direction.  Although the remaining songs dovetailed thematically with Carrie & Lowell, the room seemed lighter.  We had been through something together, and Sufjan reminded us that "despair is self-perpetuating" and that we need to seek and embrace the light that is all around us.
  13. In the Devil’s Territory.  This song thrilled me like no other.  He emphasized the choral harmonies of the chorus, the song sounding twenty times bigger when played live, and his lead banjo carried me back a dozen years to my own private reckoning with the Devil and his territory.  The best surprise of the night, my throat lumped as I longed for the Divine.  But I'm not afraid to die / To see you / To meet you.
  14. Casmir Pulaski Day.  As heart-breaking as you ever remembered it.
  15. The Dress Looks Nice on You.  The spiraling electric guitar parts paired with Sufjan’s lead banjo were brilliant.
  16. Futile Devices.  Age of Adz, yo!
  17. Sister.
  18. Blue Bucket of Gold.  He filled the universe with light.  The closing moments were a furious and stellar sendoff, an instrumental jam from an impeccably talented group of musicians.  Somewhere to the stars and beyond.
Encore
  1. Concerning the UFO Sighting Near Highland, Illinois.  Alone, at the piano, haunting me with those piano lines yet again.  Sleep was no longer an option after the show.
  2. Chicago.  You came to take us / All things go, all things go / To recreate us / All things grow, all things grow.