Sun Kil Moon: Part IIIV: The Performance

The setting was perfect. We had invited people to hear a Concert Under The Sun Kil Moon and we got just that: a crisp late-summer evening, the night sky brimming with stars, and a brilliant sliver of moon hovering in the west. There could have been no better time and place to listen to Mark's sacramental guitarwork and lyrical elegance.

Mark sat down and fine-tuned his instrument. We were spread out on the lawn in chairs, close to the stage, eagerly awaiting his performance. During the third song, we had a scare that resurfaced from the problems at soundcheck, as the power went out for a second or two. Fortunately, the soundguys honed in on the right mix, and Mark was able to get into a confident groove. My small prayers had been answered.

Mark set the tone with "Alesund;" with its intricate classical fingerpicking, the song immediately pulls you in with its spacious, meditative introduction. The opening track from Admiral Fell Promises is epic introspection in a manner that only Mark can deliver, reflecting on a muse that is both person and place, the Scandinavian beauty of Alesund.

Mark went even more epic and intimate with his next song, if that is even possible, playing the incomparable "Duk Koo Kim." The song is a breathtaking fourteen minutes, the number of rounds the tragic Kim lasted in his final bout. During the extended bridges, Mark's acoustic version became an exquisite display of the sublime.

Mark moved into a lovely rendition of "Moorestown," as nostalgic a remembrance of lost love as pop music can project, followed by a crystalline version of "Carry Me Ohio." In the original, the words, halfway-submerged in the music's dense soundscape, slowly reveal themselves, mimicking the fleeting, hazy nature of memory. On this night, Mark's emphasis on the penultimate plea transformed the song into private prayer: Heal her soul, and carry her my angel, Ohio.

"Third and Seneca" was followed by "Cindy," a famous American folk song that Mark managed to keep humorous and serious at the same time. It was clear everyone loved Mark's clever take on the number, even if many failed to realize the song has been around for a long time in various incarnations--long enough to even meet the approval of my a cappella teacher as we performed it in high school.

Mark's banter throughout the evening was loose and pleasant. Mark asked if everyone was doing all right. He said "we don't have backyards in San Francisco." A dog barked in the distance. Everyone laughed when he noted it was the first time that had happened during a show.

"You Are My Sun" was beautiful. I could not get the "Leona" refrain out of my head for days. Given the natural beauty of the surroundings, Mark probably felt compelled to play the new song "Church of the Pines," one of the most pastoral numbers he has ever written.

Mark again asked if everyone was doing all right. He said he was just doing what he normally did, and he hoped it was all appropriate for a family show. He paused and then joked that "we don't have families in San Francisco either."

Mark asked what other songs we wanted to hear. Rip called for "Salvador Sanchez." Mark joked that he couldn't remember the song. Rip also asked for "Glenn Tipton" for my Dad. (The old ball coach could appreciate opening lines like "Cassius Clay was hated more than Sonny Liston."). A few more possibilities were called out, at which Mark joked, "hey now don't boss me around." He was clearly feeling good. And with the next run of songs, Mark would hit a high that I have still not come down from. We later remarked that we could feel Mark wanting to make the night special, and during the next three songs he certainly accomplished that objective.

"Salvador Sanchez" gave me the chills. Mark's delivery was divine. And "Glenn Tipton" seemed to strike with great force, especially during the rising choruses. Mark then surprised everyone with "All Mixed Up," one of the best songs from his Red House Painters catalog. It was a magical three-song run only to be followed by another trifecta.

"Heron Blue" was dark and mysterious and displayed the lower range in Mark's unique register. "Rock 'N' Roll Singer," another audience request, was pure acoustic candy; AC/DC never sounded so interesting or contemplative. Mark ended his performance with "Blue Orchids," the graceful closer from April. Mark's classical guitarwork was stunning--at times it sounded as if two guitars were playing, one for rhythm, one for melody.

We gave Mark a standing ovation. During his performance, I had constantly looked up at the night sky and tried to soak in the entire experience. Thankfully, I am still enjoying it now. That is what makes his music so special: it lasts.

Enjoy "Have You Forgotten" from the Vanilla Sky soundtrack. (Check out the original version from 1996's Songs for a Blue Guitar).

Sun Kil Moon: Part IIV: The Morning After

Mark decided to stay in the guest room and forego spending the night at the hotel. We were pleased that he had felt so comfortable. In the morning, we relaxed some more and Mark said that he would love to return to spend more time with us. On that note, Mark asked me to check out potential venues for a future concert and send him the information. He also promised to send me his new September 2010 concert poster before leaving on the next leg of his tour. A few days after he left, two signed posters appeared in the mail with a handwritten postcard from Mark. He is a man that makes good on his word.

On the ride to the airport we discussed his apartment in San Francisco, his love interests, and his family in Ohio. Mark also made several interesting observations about our own family dynamics. We talked more about his music, as I had strategically peppered him with questions throughout his stay. I asked him if he had ever had a problem with some of the unique covers that he has recorded. He said Neil Diamond threatened to sue him for a Cameron Crowe-commissioned cover for Elizabethtown. Apparently, Neil wasn't "comfortable" with Mark's reinterpretation of "Kentucky Woman," failing to realize that he might actually have a chance to be relevant again.

We parted with Mark at the airport and exchanged hugs at the curb. Mark reiterated that he had a great time and looked forward to coming back. Over the past twenty-four hours, we had become friends. No doubt his music will never be the same.

Enjoy an alternative acoustic version of "Salvador Sanchez" from 2003's Ghosts of the Great Highway.

Sun Kil Moon: Part IV: The After-Party

We made a late-night run to In-N-Out with my favorite singer-songwriter alive. Bob Dylan or Neil Young could not have made the excursion more enjoyable. Mark was hungry after his performance so we all piled into the truck and went through the drive-up window. Mark did not mess around and ordered two hamburgers, fries, and and a large iced tea.

We hung out in the kitchen and talked music and families. Mark was happy to hear that so many enjoyed the show including people that had never heard his music before. He seemed relieved that his performance had delivered for neophytes and longtime listeners.

We convinced Mark that he needed to play Rock Band so we ventured down to the theatre room for some vicarious jamming. Mark unsurprisingly had never heard of the game before. We wanted to test our theory of whether the game was actually more difficult for a virtuoso guitar player than a couch-concert wannabe. But really we just wanted to play in the same line-up as Mark for one night, even if it meant pretending to play fake plastic guitars.

We first demonstrated our chops for Mark with a solid run of "Float On," "Wonderwall," and some other crap band that eludes me. We then gave Mark an axe and he played lead on The Cars "Just What I Needed." Mark reclined back in his chair and appeared to finger the buttons on the neck with ease. But after four straight failures, our band getting thrown off the stage, we deemed our theory correct and Mark retired from the make-believe world of gaming for the first and last time.

Enjoy Mark (in the shades) singing "Tiny Dancer" from 2000's Almost Famous.

Sun Kil Moon: Part V: The Party

Mark enjoyed the beautiful evening with the rest of the guests. He met family and chatted easily with longtime fans. He even endured a few strange comments from a distant uncle (on the in-law side), who stated with certitude that all music has been crap since Rubber Soul. I put my arm around the perpetrator and walked him in the other direction, shielding Mark from any more ridiculous statements. Our friend has obviously never listened to Ghosts of the Great Highway, an album of absolute perfection that was not recorded in the 60's.

As the night grew crisp, Mark told me he was concerned about his fingers in the cold. (After watching his fingers move across the strings, it is easy to understand why). I said we would run to the store and grab a space heater to place next to him on stage. He said he felt pretentious even bringing it up, but I quickly dismissed the notion as we wanted him to be completely comfortable during his performance. I had spent most of the night pacing back and forth among friends and family, too nervous and excited for the concert to sit still. I was not about to let Mark's fingers feel the least bit disenchanted.

Mark jumped in with the soundguy to pick something up--he said he wanted to see some more of the place. Nothing like a Saturday night run to Lowes to capture the essence of our community. Indeed, I laughed thinking about the scene: Mark searching the aisles of a big box hardware store right before playing a show. A man the Sunday Times recently said had "assembled one of the most impressive and indivdiualistic song canons American music has thrown up in the last 20 years." To be sure, his humility was a godsend on this unpredictable night.

Enjoy "Moorestown" from 2008's April.

Sun Kil Moon: Part IV: The Sound Check

Mark needed reverb. And he was not getting it. Not delay. But perfect reverb. Three seconds for vocals, two seconds for guitars. In the most tense part of the day, at least from our perspective, the sound system was not cooperating. We all looked at each other with over-worried glances.

Eventually, the reverb box crashed and the power went down. We sent one of the soundguys for reinforcements and had to wait for an hour for Mark to finish the soundcheck even as guests began arriving. Mark had to calm our nerves, and I reminded everyone that this is precisely why you do a soundcheck--and that this was not Mark's first rodeo. Thousands of concerts flashed before my eyes from Stockholm to San Francisco. We would get the sound right and his performance would be fine.

When Mark played the opening passages of "Alesund," sitting alone in the backyard, it was surreal. And not in the overused sense of that word; it was dreamlike, a moment that this longtime listener cannot fully explain. Having spent countless personal moments with Mark's music, the simple fact that he was playing here was pure fantasy.

Ohio. Long drives to southern Utah. Early morning hours and late nights. Listening to Tiny Cities for the first time in a Civil War-era cemetary, the burning leaves of autumn swept across the graves. Listening to April on the way home in the car and "Blue Orchids" making my wife cry. There were too many intimate experiences through the years for me to contextualize actually having Mark play before us in this setting. It was like a character from your favorite novel appearing to discuss their very real lives with you. It was, in every sense, surreal.

Enjoy "Alesund" from 2010's Admiral Fell Promises.

Sun Kil Moon: Part III: The Arrival

When we arrived at the house Mark pulled from his bag a limited edition vinyl for the birthday boy--only twenty-five of them ever pressed. This kind of forethought was the perfect example of his desire to provide a memorable experience. He later told us this was the first time he had performed in these circumstances, and one could sense that he was concerned about doing things right.

Mark met my parents and was gracious with his time. He seemed especially intrigued with my father and asked questions about him throughout his stay. Men like my father do not run in the same circles as Mark. An enthusiastic old ball coach, weathered by wins and losses, Dad has the presence of a personal mentor in just about every situation. Dad pointed out to Mark that many people have talents, but few make the sacrifice to develop them fully. This sentiment seemed to strike Mark as truth and he wholeheartedly agreed.

Mark settled into his guest room after taking a walk around the premises. He had noted how the view of the lake reminded him of the Bay Area and the surrounding mountains suggested Norway. We could sense he was pleased with the set-up and location. He emerged to check his email on the office computer, something he likely couldn't do from his dated-looking flip phone. In response to a comment about his prowess as a classical guitarist, Mark had told a recent audience you can get good at shit if you don't mess around on Facebook all day. Needless to say, he has little need for new technology. Gets in the way of writing beautiful songs.

The weather was brilliant. Mark asked me if it was all right if he went for a walk in the neighborhood. He walks five or six miles every day through the streets of San Francisco, and one cannot help but think it has some connection to his artistic process. So I helped him on his way to make sure he was firing on all cylinders. Least I could do.

Enjoy "Space Travel is Boring" from 2005's Tiny Cities.

Sun Kil Moon: Part II: The Pick-Up

We had some discussion about how many guitars he would bring. I maintained he would only bring one. So when we saw him walking toward us near the baggage claim, my intuition felt justified when he approached with a single black guitar case and a small light-blue bag. Like any true artist, Mark traveled light.

He was wearing a stylish white-collared shirt, sleeves pulled up to the elbows, and jeans and black shoes. He was handsome like his pictures and performances suggested, sleight but well-built. We have long judged men and their proportions, and I was happy to report that Mark was tall enough, and there was something magnetic in his physical persona. My wife would later comment about his deep-set eyes and this sort-of beautiful sadness that seemed to reside there. She was right. His eyes belied a resovoir of introspection, a place of deep-rooted observation and feeling.

After we made some introductions, I carried Mark's guitar through the airport and slid next to it in the backseat of the truck. I carried his guitar on several ocassions, my self-awareness getting the better of me. I felt like I was guarding the medium of his wonderments, protecting Van Gogh's brushes and colors. So I was always surprised at Mark's absolute ease in letting it go.

During our drive we talked about his concert in San Francisco the night before. We talked about his upcoming tour dates, Ben Gibbard and his new life with Zooey, and Alan Sparhawk from Low. I pointed out that Mark name-dropped just about every western state but Utah in his new song "Third and Seneca," an oversight he would have to remedy in the future. There could have been little doubt after the first fifteen minutes that we loved his music and were thrilled to have him as our special guest.

But Mark seemed even more interested in us, our lives, our families. His questions were genuine, and throughout the rest of the weekend, we felt like he wanted to learn as much from us as he could. Our inquiries about his life and music were returned with equal interest in our experiences and viewpoints. Every conversation that we had together seemed to be filled with a searching import. And it was exhilarating for this devout follower.

Enjoy "All Mixed Up" from 1996's Songs for a Blue Guitar.

Sun Kil Moon: Part I: The Set List

The set list was perfect. Four new songs. An American folk song. An AC/DC cover. A Red House Painters favorite. Three songs from April. Four songs from Ghosts of the Great Highway. "Salvador Sanchez" played on demand, and "Glenn Tipton" played for my Dad. No words.

• Alesund
• Duk Koo Kim
• Moorestown
• Carry Me Ohio
• Third and Seneca
• Cindy
• You Are My Sun
• Church of the Pines
• Salvador Sanchez (open tuned) or (acoustic)
• Glenn Tipton
• All Mixed Up
• Heron Blue
• Rock N Roll Singer
• Blue Orchids

Five Things

The next few months are some of The D Man's favorite listening moments

• Vampire Weekend were fantastic in concert (again) and reminded The D Man that they are cooler, smarter, and better than just about any band you used to like. The pop-masters delivered too many great moments to count, but "M79" was a number worth remembering.
• Beach House opened the show with splendid atmospherics. The D Man loves Victoria LeGrand's voice (and her savage hair that needed a weapons permit). She sounded downright epic on the closer "10 Mile Stereo."
• Cannot help it--still love this song on a late-summer day.
• No, this is not my guitar / I'm bringing it to a friend. Best opening lines of any album this year. Exquisite song, too.
• Yes, he has a new EP. Yes, he has a new album coming out. Yes, you can have a sneak peek here.

Song of the Week

That is the coolest, spookiest, most haunting, transcendant thing I have seen in some time. So said the Rizzo after watching the ingenious, interactive multi-media experience that is the video for Arcade Fire's "We Used To Wait," from the band's third album The Suburbs. The short film from Chris Milk is called "The Wilderness Downtown," and it takes viewers on a nostalgic-winged journey to (and maybe away from) their childhood homes. Backed by an absolutely epic song from the Montreal collective, the video is deeply moving. After typing in 1386 East 600 South, The D Man cannot put into words how the song made him feel--too personal, too foreboding, too beautiful, all at once. Homesick and grateful to be gone. But I can share with you what I wrote to my former self: hang in there . . . it gets better.

Song of the Week

"Heirloom" is beautiful, haunting, enchanting, exciting--a secretive gift among the rococo pleasures of All Delighted People. For the centerpiece of ornamental wonder, enjoy the title track too.

A word on the EP from Mr. Stevens' bandcamp: "All Delighted People is built around two different versions of Sufjan's long-form epic ballad "All Delighted People," a dramatic homages to the Apocalypse, existential ennui, and Paul Simon's "Sound of Silence." Sounds delightful, yes! The song was originally workshopped on Sufjan's previous tour in the fall of 2009. Other songs on the EP include the 17-minute guitar jam-for-single-mothers "Djohariah," and the gothic piano ballad "The Owl and the Tanager," a live-show maintstay (and Debbie Downer if you ask us; what's it doing on a "Delighted" EP?)."

Classic D Man

Paul Simon has written The Great American Song on more than one ocassion. "Bridge Over Troubled Water." "Sound of Silence." "The Boxer." "Mrs. Robinson." (Just to name a few). He repeated the feat again in the 1980's with "Graceland," among others. But there is another oft-ignored song from that same fruitful period that we should probably add to the list.

Several years ago while delving into Simon's solo work, The D Man discovered this beautifully-penned song: "Hearts and Bones," from the 1983 album of the same name. Apparently, Simon himself thought it was one of the best songs he ever wrote. And rumors have it that it was about his soon-to-be wife Carrie Fisher, er, Princess Leia. The personal nature of this and other songs may be one of the primary reasons Simon and Garfunkel fought so arduously during their post-reunion recording sessions--eventually, Garfunkel left and Simon wiped his partner's vocals from several tracks, refashioning them into a solo production.

"One and one-half wandering Jews" may be the best opening line Simon wrote this side of "Hello darkness my old friend." The lyrical song followers our travelers as they wind through love and distance, accompanied by a graceful guitar line and a traditional verse-chorus verse-chorus climax. But Simon's bridgework is the real payoff: the suspension exquisitely flows to some sort of epiphany in response to the poignant question, "Tell me why you won't love me for who I am, where I am?" We are never certain if the answer to that question is enough, but it doesn't stop our lovers, if for a brief moment, from achieving something more.

Song of the Week

The Drums cashed in early on the recent indie beach-pop trend with "Let's Go Surfing." To accentuate the point, The Drums will be opening for Surfer Blood this fall, another band that rode the waves of a massive water anthem, "Swim (To Reach The End)." But The Drums may be more than a one-trick pony, or at least that is The D Man's first impression after listening to some of the new tracks from the band's anticipated self-titled debut. With strains of New Order, The Smiths, and the Cure, the band's synthy and glossy spaces are both minimalist (see "I'll Never Drop My Sword") and filled with hooks (see "Best Friend"). For maybe the biggest summer glow on the album, enjoy the video for "Forever and Ever (Amen)" below. Randy Travis would be proud.

Five Things

Five songs that grabbed my attention at the perfect time this past week. Thanks to talented people who make great music. The D Man is always appreciative.

• "The End of the World Is Bigger Than Love." We all know Jens Lekman doesn't really believe this. But after a painful breakup since his last proper album, Night Falls Over Kortedala, Jens is back with another bittersweet string and piano-soaked epic, saving your heartaches one soaring melody at a time.
• "Meloncholy Hill" is an utterly glossed-out electro track from Plastic Beach. Enjoy another cool video from your primate friends.
• "Guys Eyes" is another outstanding track from last year's Merriweather Post Pavillion. Check out the surf-and-skate vibe for its chilled-out video.
• "Admiral Fell Promises" has long been a staple at Kozelek shows and only recently became the title track for Sun Kil Moon's graceful new album. Enjoy a lovely live version.
• "Laundry Room" came on at the right time this weekend. Twilight. Mountain road. Pine trees. Perfect. Thanks to The Avett Brothers.

Classic D Man

The D Man has been reinvesting in his early R.E.M. catalog. Seeking lyrical elegance. Melodic refuge. Arguably the definitive American band of the past 30 years, R.E.M. are the inspired fathers of indie-rock and have a story arc almost unparalleled given such an incredible trajectory across so many great albums. While driving home tonight and listening to the song below, I remembered what makes this band so special. For a fleeting moment, I thought I might be listening to the finest song ever recorded. At the very least, you should enjoy "I Believe" from the band's fourth album Lifes Rich Pageant. A brilliant song unlike anything else. Call it a friendly reminder. (Lyrics provided below, because as you might know, you won't find them in the liner notes).

When I was young and full of grace
And spirited, a rattlesnake
When I was young and fever fell my spirit
I will not tell
You're on your honour not to tell

I believe in coyotes and time as an abstract
Explain the change
The difference between
What you want and what you need
There's the key
Your adventure for today
What do you do between
The arms of the day
I believe my shirt is wearing thin
And change is what I believe in

When I was young and give and take
And foolish said my fool awake
When I was young and fever fell my spirit
I will not tell
You're on your honour
On your honour
Trust in your calling
Make sure your calling's true
Think of others
The others think of you
Silly rule, golden words make practice practice makes perfect
Perfect is a fault and fault lines change
I believe my humour's wearing thin
And change is what I believe in
I believe my shirt is wearing thin
And change is what I believe in

When I was young and full of grace
As spirited a rattlesnake
When I was young and fever fell my spirit
I will not tell
You're on your honour
On your honour
I believe in example
I believe my throat hurts
Example is the checker to the key
I believe my humor's wearing thin
And I believe the poles are shifting
I believe my shirt is wearing thin
And change is what I believe in

Silversun Pickups

On a whim, Rip and The D Man hit the Silversun Pickups in concert last night. Why? Because we were quasi-autonomous thirty-somethings in the mood for some woozy guitar workouts.

• The D Man picked up Rip's post-meal chocolate chip cookie and, as a result, enjoyed a ticket on the house. Rip scores again.
• Silversun Pickups opened with "Growing Old is Getting Old" and immediately announced that they would sound much better live than The D Man anticipated.
• The band transitioned to strong performances of "Sort Of" and "There's No Secrets This Year."
• "The Royal We" was fantastic live. The build-up following the hazy guitar interlude was even better than the album version.
• "Kissing Families" from Carnavas was held together with a nice mid-tempo chug and bassist Nikki Monninger's vocals.
• The band ran headlong into the encore with "Panic Switch" and "Lazy Eye," the two biggest-sounding songs of the night. "Lazy Eye" was played with absolute abandon, as it should be. A maxed-out treasure of a song. Brian Aubert's vocal-chord shredding yelps climaxed at just the right time.
• "Substitution" was the best of a three-song encore. The set list was Swoon-heavy and that ended up being a good thing. The crowd was really into the show and the band's appreciation seemed genuine throughout the night. Good on ya, SLC.
• Ultimately, Silversun Pickups do not capture The D Man's aesthetic imagination. But they mine a vein of sonic quality--even identity--that pulsed throughout some of my formative music listening years. They are a tight and competent approximation of Gish-era Pumpkins with scattered nods to The Breeders and Sonic Youth. The derivative vibe could be offputting but for the band not taking themselves so seriously. Hearing them live, they are a well-meaning and solid outfit aping earlier tropes to surprisingly good effect. Good on ya, Los Angeles.

The Trials of Van Occupanther / Midlake

Van Occupanther

carries water in the snow

and stumbles again

1. Roscoe

2. Bandits

3. Head Home

4. Van Occupanther

5. Young Bride

6. Branches

7. In This Camp

8. We Gathered in Spring

9. It Covers The Hillsides

10. Chasing After Deer

11. You Never Arrived

Song of the Weekend

Enjoy the best driving song of the summer from your friends Ben Bridwell and company. It does not get much more straightforward, wide-open, American country-rock than this. Thank goodness for sweet guitars and hooks. Note to self: wear your plaid button-up to the concert in September.

Sea Change / Beck

private catharsis

turns into Gordon Lightfoot's

six-string loneliness

Sea Change by Beck

1. The Golden Age

2. Paper Tiger

3. Guess I'm Doing Fine

4. Lonesome Tears

5. Lost Cause

6. End of the Day

7. All in Your Mind

8. Round the Bend

9. Already Dead

10. Sunday Sun

11. Little One

12. Side of the Road

Song of the Week

Sun Kil Moon releases fourth album Admiral Fell Promises next week. The D Man already pre-ordered the album to receive the accompanying I'll Be There EP. Unlike past efforts, Mark Kozelek recorded all of the songs solo with his nylon string guitar. So while you won't be hearing any open-tuned epics, if the cover art is any indication, you will be rewarded with some intimacy. Check out the spare "Australian Winter" and go to Myspace to hear the album streamed in its entirety on July 10.

Haiku Review

In Seymour--An Introduction, Buddy Glass tells us that his brother "probably loved the classical Japanese three-line, seventeen syllable haiku as he loved no other form of poetry, and that he himself wrote--bled--haiku (almost always in English, but sometimes . . . in Japanese, German, or Italian)." On the day Seymour left this world of his own volition, he composed the following "straight, classical style haiku" in Japanese, leaving it behind in pencil "on the desk blotter in his hotel room." (See "A Perfect Day for Bananafish," from Nine Stories, if for some reason you have never read J.D. Salinger's small canon).

The little girl on the plane

Who turned her doll's head around

To look at me.

The poem was later translated by Buddy, or so we're told in Franny and Zooey. Buddy usually describes Seymour's poetry rather than sharing the poems outright, adding another level of richness and mystery to Seymour's considerable craft. We learn that Seymour invented "double haikus" and artfully invoked powerful scenes. We do get this poem, however, written by Seymour when he was young:

John Keats

John Keats

John.

Please put your scarf on.

According to Harold G. Henderson's Haiku in English, the traditional Japanese haiku is visual in appearance, with three lines having five, seven, and five syllables, respectively. The poem must contain some reference to Nature. The poem is specific in the sense that it refers to a particular event, and the event is happening now, not in the past. It is often the practice to reference or allude to a time of year by season. Thus, "the blossomed-covered hill" would indicate spring.

American haiku is often about anything, breaching the ancient traditions and causing heartburn to purists. For example, recall Richard Brautigan's "Haiku Ambulance," which pokes fun at the haiku that fails.

A piece of green pepper fell

off the wooden salad bowl:

so what?

Nevertheless, Japanese haiku in translation is far better conveyed without a strict adherence to the syllabic rule. Sacrificing the syllabic rule while maintaining the three lines, which is usually the way translation is done, is necessary because syllabication in Japanse is obviously different from English, and Japanese kireji ("cutting words") are "primarily verbal punctuation marks" that are difficult to translate directly. So Basho reads as follows:

On a withered branch

a crow has settlled . . .

autumn nightfall

The old pond;

A frog jumps in -

The sound of the water.

Why the lesson in haiku? Why the nod to both the imaginative (Seymour) and literal (Basho) masters of the striking artform? Because The D Man loves haiku. And so should you. The beauty of the haiku is in its accessibility--its ability to distill a scene to its emotional essence in so few words. This accessibility allows for even the most meager of writers to try their hand at the poetic. Everyone can write a haiku. Some can even be quite good.

When The D Man was hanging out backstage with Stone Gossard* before a Pearl Jam concert, Stone (yes, we use first names here) said that the band members had recently been writing haikus. (Here is where you imagine Edder Vedder licking his pencil on the tour bus). Stone believed writing haikus kept their minds sharp and led to some striking realizations. Good for writing song lyrics too, The D Man supposed.

So with Seymour's, Basho's, and Stone's blessing, The D Man sets out on a haiku journey, a creative tour-de-syllable to describe the emotional resonance of his favorite albums from the new millenium. Five. Seven. Five. Wish me luck, as I may even attempt the mysterious double--even triple--haiku that has long been the thing of legend. As the haikus unfold, The D Man seeks your participation. Haikus are obviously a solitary pleasure, but the welcoming smile--and verse or two--from friends and readers extend the little poem's wealth into the realm of riches. So thanks in advance.

*No apologies for name-dropping or implying my coolness by association.

Classic D Man

Not too long ago, Evan Dando was an alternative music pin-up--and for good reason. His guitar-pop with a sometimes country twinge produced at least a dozen hook-filled tracks that never grow tiresome. The D Man has recently been re-living summers past and cannot stop spinning The Lemonheads. The sweet meloncholy that permeates Dando's songs taps into a vein that has nothing to do with the drugs that he often laments. Enjoy "Confetti" or check out "Rudderless" and "Backbone" here. Or maybe a back-porch version of "It's About Time." Because I know you've probably only heard this and this.

Speaking of that subtle country vibe, if someone in Nashville covers "It's A Shame About Ray" they will finally be cool or at the very least would have a justifiable hit. Yep, that's Johnny Depp in the video. He is pretty cool too.

Five Things

Some shared thoughts and musical moments from the past week.

• Last weekend The D Man saw Sting in Las Vegas at the MGM Grand for his Symphonicity Tour. As always, the Englishman sounded great and the clan had an excellent time. Sting's arrangements were fantastic (as expected) and the Royal Philharmonic Concert Orchestra extended a richness to the songs that was refreshing and almost heavenly (unexpected). The concert's atmosphere was relaxed as Sting discussed aspects of each song he played, developing a unique backstory that was interesting even to longtime fans. The D Man especially enjoyed performances of some of his favorite songs from Sting's solo material, including "Russians," "Mad About You," "Shape of My Heart," and (giving me chills) "Why Should I Cry For You?"
• Has a song ever sounded better on the Vegas strip? Maybe. But it wasn't this cool, and The D Man wasn't with you.
• Check out Passion Pit's cover of "Tonight, Tonight" by Smashing Pumpkins. Yes, that is a dude singing.
• Rumination incarnate. For the inward search.
• Sting also performed "End of the Game" and it was lovely. None of us had heard the song before. Apparently a Brand New Day B-Side.

Song of the Week

Jack Tatum sounds like the name of a linebacker. But this dude from Blacksburg, Virginia, pays sensitive homage to that starry-eyed vein of dream pop first perfected in the Eighties by some of indie-rock's finest. Check out Wild Nothing's "Summer Holiday" from debut Gemini, complete with reverbed falsetto vocals and an introspective guitar line. Sounds just like it should--nostalgic and gorgeous.

Classic D Man

Sufjan. Stevens. New. Album. The four words have stumbled around The D Man's brain for the past several days. Apparently, Sufjan has not only been gigging with his friends from The National, but he has been hard at work in the band's Brooklyn studio recording a new album. Bryce Dessner explains that Sufjan is "very solitary in what he does" and that the new material does not sound like his older records. "It's going to be incredible," Dessner adds. "It's probably going to blow people's minds." With my mind already blown, Sufjan will just need to (gently) pick up the pieces.

Enjoy this goofy fan video for "He Woke Me Up Again," from 2004's masterful Seven Swans. The song contains the best banjo lead/organ accompaniment of all time. And it somehow manages to sum up The D Man's feelings for Sufjan's music, the Divine, and years of patient waiting: I was asleep. And He woke me up again.

Five Things

The D Man is another year older. But still in his prime. The best songs from his June 8 birthday.

• Mark Kozelek's cover of "New Partner" (driving to work 7:15 a.m.)
• Wild Nothing's "Summer Holiday" (at work 10:25 a.m.)
• The Very Best's "Chalo" (driving to play golf 1:15 p.m.)
• Beach House's "Zebra" (driving to dinner 8:05 p.m.)
• Beach House's "Lover of Mine" (driving to movie 9:30 p.m.)
• Bonus: AC/DC's "Highway to Hell" (Iron Man 2)

Song of the Week

Stars slay the summer again with a killer single worthy of "Ageless Beauty." Check out the video for "Fixed" from the Canadian band's fifth album, The Five Ghosts. Amy Millan's vocals breeze over a shoegaze-lite pop arrangement and nestle their way into a bed of synths. That means good listening, folks.

Music and Memory

The D Man purchased August and Everything After in early spring of 1994 at a baseball tournament in St. George, Utah. Largely driven by the emerging airplay of "Mr. Jones" on MTV (who is this white dude with dreads? why his belly hanging out? why is this a breath of fresh air after everything else on the radio?), The D Man walked down the street to K-Mart and picked up the album. When I returned home and told my older brother about my new tunes he protested and said I should have picked up The Cocteau Twins. Typical.

Regardless of what hindsight haters might say, Adam Duritz' songwriting was brilliant on Counting Crows debut release. There was not a weak song on the record and the sing-along choruses were cathartic. Duritz' lyrics were supple and descriptive in a derivative (albeit melodically-worthy) Dylan vein. "Round Here," "Omaha," "Anna Begins," "Rain King." You know them all.

Perhaps tapping into some faux-junior high desperation, my favorite track (aside from the obvious ones) was the angst-riddled and nostalgia-fueled "Sullivan Street." I'm almost drowning in her sea / she's nearly falling to her knees. Pretty straightforward, sure. But The D Man loved the way Duritz added the buh-ba-buh-ba after singing take the way home for the second time. Loved the way the chorus changed (as with most of Duritz' best songs) to tell an ongoing story. Loved the gorgeous, live-feel production (thanks to T-Bone Burnett). The D Man listened to this track countless times in his basement bedroom. And he can primarily thank the Crows for being the gateway to artists like Dylan that he would discover later in high school. Take the way home, indeed.

Song of the Weekend

Hope you enjoy your long weekend as much as these royal dudes from the East Coast. Hit the beach. Grab some In-N-Out. Beat down a surfer. Whatever. Just make sure you spend some time thanking our men and women that have made this fun possible.

Hunger Strike

Rip recently caught Pearl Jam at the Garden. The Black Keys opened. But he was really bummed that he missed Band of Horses opening the following night. Hate to break it to you, brother, but Eddie Vedder and Ben Bridwell filled up the arena with "Hunger Strike," the rarely-sung-live Temple of the Dog classic. Vedder sounds in-the-pocket as always in this excellent fan footage. And Bridwell hits Chris Cornell's high notes with aplomb. Notice how the easy-going South Carolinan is uncomfortable singing slaves. Damn, he is talented, cool, and nice.

Song of the Week

Check out this epic, in-the-zeitgeist, post-dancerock track from LCD Soundsystem's new release, This Is Happening. James Murphy sings "You wanted a hit / but maybe we don't do hits." Ummmmm, right. If you heard this song while entering a record store, you would not make it out alive--like entering into the hippest wormhole in the time-space continuum, the vortex keeps spinning around until you succumb to the outer reaches of coolness. You wanted a hit? Baby, you just got something bigger.

Five Things

Heading for the weekend. Life is good. Still like music too.

• With twenty-four contestants left, The D Man predicted that Lee Dewyze and Casey James would be the last two men standing in American Idol. Easy peasy. Lee Dewyze, a naturally-gifted vocalist and former paint sales clerk from Chicago, should now win the entire thing.
• Best hair metal song of the moment: "Last Summer's Evil" by TNT. !!!!!!!!!!
• Janelle Monae's "Tightrope" (featuring Big Boi) is some Outkastic funk.
• Band of Horses hits the sweet spot everytime. Check out an electric version or chilled-out acoustic version of "Laredo."
• "Empire Ants" from Plastic Beach is an incredible track straddling two seemingly disparate soundscapes. Damon Albarn's production values are vivid.

Song of the Week

Get up close and personal with the Brood King on The National's new video for "Bloodbuzz Ohio." Matt Berninger's narrow baritone takes flight with (a swarm of bees and) an exquisite rock'n'roll arrangement that lesser mortals scarce can comprehend.

The National

After The National's performance last night on Letterman, The D Man can confidently proclaim that, right this very minute, there is not a better band on the planet. And who provides those ethereal backing vocals on "Afraid of Everyone," both last night and on the album version? None other than long-time friend Sufjan Stevens. Go pick up High Violet today, now out in your local record store and even on sale for $7.99 at Target. Probably the best bang for your musical buck since you pilfered In Rainbows.

Five Things to Remember While The D Man Is In Trial

The D Man is going all Matlock for the next two weeks. (Here is hoping that my lucid arguments do not get overruled). So while The D Man is out seeking justice in a venerable courtroom of this great state, his loyal cadre of readers should remember the following five things:

• Some (potentially) great albums come out in May: Broken Social Scene, The Hold Steady, The Dead Weather, The National, Band of Horses, and LCD Soundsystem will be hitting a record store near you. Even Crash Test Dummies drop a new album called Oooh LaLa! Who knows, right?
• May is a great time to listen to the following songs: "Street Lights" by Josh Rouse, "Sometimes Life Isn't Easy" by Mew, and "Pushover" by The Long Winters. Just saying.
• If you haven't fallen in love with Teen Dream, well, there is not much that The D Man can do for you.
• Sun Kil Moon is releasing its fourth full-length, Admiral Fell Promises, on July 13th. Buy the record straight from Caldo Verde Records and get the four song I'll Be There EP.
• Did The D Man mention that The National is releasing an album? Check out a live performance of "Terrible Love" called The Castle Rock Session here.