Feeds:
Posts
Comments

Archive for April, 2018

Nathan Hill–The Nix (2016)

Posted in Adventure, Anarchy, Choose Your Own Adventure, College, Consumerism, David Bowie, Feminism, Funny (ha ha), History, Humiliation, King Crimson, LGBTQ, Marriage Trouble, Nathan Hill, Newspapers, Parenting, Political Humor, Politicians, Regrets, Sex, Sexism, Violence, Virginity (Loss of) on April 20, 2018| Leave a Comment »

SOUNDTRACK: KING CRIMSON-The Elements Of King Crimson – 2016 Tour Box (2016).

This was the third Tour Box containing material that is similar in spirit, but different in fact to the previous two.

As always, it starts with the Wind extract, the sound of Fripp’s mellotron warming up and a voice saying “I prefer the early ones.”  It segues into a beautiful instrumental of “Moonchild.”  Once again, the lyrics are interesting in the song, but it sounds great without them.

The music stays in somewhat chronological order of release, but often with contemporary versions.  Like the 2015 recording of 1970’s “Peace” (which is okay) and “Pictures Of A City” (which is great).

“Prince Rupert’s Lament” is a two and half-minute guitar solo which has the Toronto crowd from the previous track overlaid, making this recording sound like a live one, when it is in fact an except from the recording session of Lizard.  There’s a rehearsal of the full 10 minute “Islands” from 1971 or so.

Then a “new” song, the two and a half-minute 2014 “Threshold Soundscape” which segues into the 2014 live version of “Larks’ Tongues in Aspic Part I” which is quite bass heavy.  Up next is a recording session of “Easy Money” without all the bells and whistles.

Then comes two live recordings from 1974.  “Improv I” which is full of gongs and guitars and chaos and segues into “Doctor Diamond.”  This is a song I had never heard before.  It never had an official release and this version seems like they’re just trying it out, like they weren’t really sure about the words, especially.  It’s heavy and  more than a little odd.

After a 30 second clip “From the Drummer’s Stool” which is the a drummer playing the intense “21st Century Schizoid Man” drums, the full song is played from 1974, sounding quite old in the mix.

The second disc continues with all manner of things in no particular order.

There’s more extracts from Lizard, this time a very pretty solo piano version of “Prince Rupert Awakes.”

And them it’s on to a non-Crimson album.  “The Other Man” is an alternate early version of the song from the Jakszyk, Fripp, Collins album A Scarcity of Miracles which I don’t know at all.

Next comes “Making Of Discipline,” it’s clips from bulk of the album spliced together into one song.  It’s very nifty.  There’s a demo instrumental of “Walking on Air” and then a three-minute live track called “Radical Action (to Unseat The Hold of Monkey Mind).”

There’s a demo of “Meltdown” (with guide vocals) and then a 40 second clip “From the Drummers’ Stools I” and a 20 second clip “From The Guitarist’s Stool I” which is part of the 21CSM solo.

Then comes some heavy stuff.  “The ConstruKction Of Light” live from 2014 with no vocal tag at the end followed by the bizarre Beatles mashup “Tomorrow Never Knew/Thela” live from 2000.

There another sample “From the Drummers’ Stools II” this one from “Larks’ Tongues In Aspic I” which is followed by “Nuages” (which I read as Nu-ages.  It’s trippy with bouncy bass

There’s a 2014 recording of the slow, jazzy “The Light Of Day” also originally from Scarcity of Miracles. It’s followed by a Lizard excerpt “From The Guitarist’s Stool II” and then a fast complicated 40 second 2014 soundcheck for “Larks’ Tongues In Aspic I.”

Moving away from that classic business, we jump to a new mix of “Dinosaur” from THRAK.  It’s followed by a final 45 second “From The Drummers’ Stools III” and then concluding with a cover of David Bowie’s “Heroes.”  This version is from 2000 and I find it kind of weak, especially compared to the powerhouse versions they would unleash later.

Overall there’s some cool stuff on this box, but I feel like there’s a bunch of stuff that’s not quite my Crimson taste.

[READ: January 12, 2018] The Nix

The Nix received some pretty positive reviews and I was quite interested to read it–even though I had no idea what it was really about.  It’s not until nearly page 100 that we find out what the title even means.

The Nix (in the story, not the novel itself) is a ghost story from Norway.  The protagonists’s mother heard about The Nix from her Norwegian father.  The Nix was a horse.  It encouraged you to ride it.  When you did, it never stopped running until it ran off a cliff with you on it.  In modern terms, The Nix is a person–usually someone you think you love. Someone who will leave you.

Summarizing the book is either really easy or something of a challenge depending on how many aspects you want to include.

The book more or less follows one man–starting with his failing writing career and then flashing back to how he got where he is.  That sounds pretty dull, but the book is set on the backdrop of contemporary America–from the rebellions of hippie parents to the rebellions of the 99%ers.

There’s also these wonderful subplots that prop up the main story. (more…)

Read Full Post »

Dave Eggers–Heroes of the Frontier (2013)

Posted in Consumerism, Corporate skewering, Dave Eggers, Dentists, Fire, Funny (ha ha), King Crimson, Morality, Road Trip, Runaways, Sex, Technology, The Future, War, Weather, Yuck! on April 19, 2018| Leave a Comment »

SOUNDTRACK: KING CRIMSON-The Elements Of King Crimson – 2015 Tour Box (2015).

The Elements box set has become a tour staple since the band reformed in 2014.  This is the second set and it contains another fascinating cross section of music from throughout Crimson’s existence.

In addition to the music, these sets contain a booklet that is chock full of pictures and usually an essay that gives context to what you’re about to hear.

It also includes the seven Principles of King Crimson

  1. May King Crimson bring joy to us all. Including me.
  2. If you don’t want to play a part, that’s fine!
  3. Give it to someone else – there’s enough of us.All the music is new, whenever it was written.
  4. If you don’t know your note, hit C#.
  5. If you don’t the time, play in 5. Or 7.
  6. If you don’t know what to play, get more gear.
  7. If you still don’t know what to play, play nothing.

Of the four boxes, I think this is my favorite–although the second disc of 2017 is pretty awesome.  I really enjoy the first half of the first disc.  It’s all instrumental (even tracks that have words are instrumental versions).  It’s a great collection of  sometimes pretty, sometimes not, 70s prog rock.

The eight-minute instrumental version of “Epitaph” (Steven Wilson 2015 instrumental mix) is gorgeous.  Even though I like the words just fine, there’s something really thrilling about removing them on this song.  “Catfood” is (somewhat obviously) a rather goofy lyric, so hearing this complex song without words is also a treat.  “Bolero – The Peacock’s Tale” is listed as a Tony Levin overdub.  I don’t know exactly what that means, as it is taken from the Lizard recording sessions, but the song is lovely.

In addition to longer, complete songs, the Elements sets feature short snippets.  Like the two-minute extract of “Islands” (with oboe).  Or the four-minute jazzy “A Peacemaking Stint Unrolls” which is clearly the foundation for “Lark’s Tongues in Aspic.”

Although the set is largely chronological, there’s an excerpt from the 2014 tour rehearsals in which Fripp discusses how the band knows all of their parts.  They give a mellow example of how he and Jakko will play “Larks’ Tongues in Aspic (Part II)” which is followed by the full 6 minute version from 1974.  It’s followed by an 11 minute live version of “Fracture” from 1974 (the previous box’s version was from 1973).

There’s a “guitar extract” of “One More Red Nightmare” (less than a minute long)  from 1974 followed by a full performance of the song from 2014 which doesn’t feel like a jump of forty years in any way.

The disc jumps to the 1980s era with an extended remix of “Elephant Talk” followed by 1981’s “Absent Lovers.”

1983’s “Larks’ Tongues in Aspic Part III/Sleepless” is staggeringly good.

Disc Two suffers a bit in comparison, which I find surprising as I really like the later era of King Crimson–the more metal sounding stuff is really intense.

I enjoyed the first part–the late 1990s; work.  “Jurassic THRAK” sounds huge, and 2014’s drum solo “The Hell Hounds of Krim” works fine as a connector to the next four songs which highlight the late 90’s abrasive guitars.  It’s about 20 minutes of noisy coolness. “VROOOM,” “Coda: Marine 475” and “ProjeKction” (Performed by ProjeKct Four) all showcase that complicated music really delightfully.

Then things start to slow down somewhat. “Larks’ Tongues in Aspic – Part IV/the construKction of light” suffers in my mind because of the smallness of the band.  With only four members playing, the song doesn’t feel like a huge organism, it feels more like two guitarists playing next to each other.  Mind you, it sounds amazing if you can get away from the fact that it doesn’t feel terribly “full.”  Of course, I may be just spoiled from the great versions of LTIA I’ve seen with the 7-piece band.

Things really slow down and chill out for “Sus-Tayn-Z” (Performed by ProjeKct X), “Power to Believe,” “Ex Uno Patres” and the nine minute exceedingly mellow (with vocals) “The Light of Day.”  I do not love this style of Crimson.  It works as a palette cleanser between heavy songs, but too much is too much.

The “Ba Ba Boom Boom” drum solo and “ATTAKcATHRAK” ramp things up with the kind of noise that segues nicely into the blistering 2014 version of “21st Century Schizoid Man.”

This box set once again demonstrates that King Crimson is a multi-headed beast, liable to go in any direction at any time.

[READ: January 6, 2018] Heroes of the Frontier

Somehow I missed that Eggers had written this book. I saw it in the bookstore recently and immediately grabbed it and devoured it.

I was worried that it was going to be a woman-moves-off-the-grid-and-life-gets-better story, but it’s not that at all.  It’s far more complicated and a bit more unsettling.

Josie is a dentist in Ohio.  But as we meet her, she and her children are riding in a crappy rented RV through the highways of Alaska.

Josie has a large sum of cash with her.  She had been sued by a patient for a sum she could not afford.  Rather than trying to raise th e money to save her practice or giving it over to woman, she sold her practice in total to a dentist friend.  So now, she has the cash and, temporarily, no future.

She was also in a terrible relationship.  Her children’s father, Carl, had taken off on them.  He was always aloof and a loser, but this disappearance to Florida was something else entirely.

She took her kids, Paul (8) and Ana (5) and got outta Dodge.  The children are an interesting pair.  Paul is nurturing and worrying, especially about his sister. He looks after her more closely than their mother ever does.  Ana, meanwhile, is a disaster–she seems to have a natural gift for how to break something–she can find the weak point of any structure or situation and cause havoc wherever she goes–and Paul is happy to fix the situation.

Why Alaska?  Because she has a stepsister (sort of) who lives in Homer.  Sam is independent and successful (which Josie was as well, although she was unhappy). (more…)

Read Full Post »

Jeff Tweedy (McCarter Theatre, Princeton, NJ, April 18, 2018)

Posted in Concert, Golden Smog, Jeff Tweedy, Loose Fur, McCarter Theatre, Princeton, NJ, Set in New Jersey!, Wilco on April 18, 2018| Leave a Comment »

[ATTENDED: April 18, 2018] Jeff Tweedy

I knew I was overbooking myself this particular week (this was my third concert in three days), but how could I pass up Jeff Tweedy playing in Princeton?  He’d never played here before.  Who knew when he’d do it again.  And I could get seats by walking right up the box office.

After seeing Wilco live I knew I’d want to see them again.  And while Wilco is much more than Jeff Tweedy, Jeff Tweedy by himself is pretty great.  Especially if you’re in Row E.

I came to Wilco pretty late in their existence.  I didn’t want to know about any alt-country bands back then.  Who needed to add -country to alt- music?  Well, then I heard “Via Chicago” live and I was hooked.  I have retroactively enjoyed all of their releases.

So how awesome was it that he opened with “Via Chicago” just for me? (more…)

Read Full Post »

OHMME (McCarter Theatre, Princeton, NJ, April 18, 2018) [JEFF TWEEDY]

Posted in Concert, Jeff Tweedy, McCarter Theatre, OHMME, Princeton, NJ, Set in New Jersey!, The Roches, Wilco on April 18, 2018| Leave a Comment »

[ATTENDED: April 18, 2018] OHMME

I was slightly disappointed to find that Jeff Tweedy had an opening band as I was hoping for “an evening with” the Wilco frontman. When I looked up OHMME, really the only thing I learned from them was that they were once called HOMME.  But I’m not sure why they changes the name.

So I didn’t really know what to expect when two women came out on stage.  They each had a guitar and a microphone.

And then proceeded to play the most interesting duo rock that I’ve heard in a long time.

Macie Stewart and Sima Cunningham (I’m not even sure who was who) played a vast array of styles and sounds (often within the same song) using just two guitars (and a violin) and their voices.  It was fantastic. (more…)

Read Full Post »

Steve Radlauer and Ellis Weiner–Monsters of the Ivy League: A Gallery of Elite Assholes (2017)

Posted in 17th Century, 18th Century, 19th Century, Al Gore, College, Death, Delusions, Dementia, donald tRUMP, Ellis Weiner, Fraud, Funny (ha ha), Gender, Greed, History, Hitler, Idiots, King Crimson, LGBTQ, Military, Monsters, Morality, Murder, Political Humor, Politicians, Racism, Religion, Sexism, Steve Radlauer, Taxes, The Bible, Unabomber, Universities, War on April 18, 2018| Leave a Comment »

SOUNDTRACK: KING CRIMSON-The Elements Of King Crimson – 2014 Tour Box (2014).

When King Crimson reunited in 2013, they prepared to tour as a seven piece behemoth the following year.  There would be three drummers, two guitarists, bass and horns.

And they were totally reinvigorated.

To celebrate this tour, Fripp and his minions created this Elements Tour Box, a 2 -disc set dedicated to displaying the elements that made up the band from the beginning until now.  It was made up of alternate takes, excerpt (lots of excerpts), live recordings and rehearsals from the entirety of the Crimson canon, including some of the 2014 shows.

It is a treasure trove for Crimson fanatics.  But it is also an excellent resource for anyone looking to explore the Crimson underworld without buying $150 boxsets.

The discs follow a vaguely chronological overview, starting in 1969 and moving on through 2008.  But there are 2014 takes of old songs thrown in as well–some sound better than others, but overall the quality is quite good.

The first disc covers 1969-1974.  It opens with
“Wind Extract,” which is the sound of Fripp’s mellotron being turned on back in 1969.
“I Talk To The Wind” is an instrumental version of the second song on ITCOTCK.  Purists will be able to tell how many things are different between this version and the actually-released product, but in a nutshell, this is the album version with no vocals.  It’s really interesting to focus just on the music and not the words for a change.  The song is quite pretty, with lots of flute.

“Cadence and Cascade” is from In the Wake of Poseidon and no one involved in the recording remembered Greg Lake singing a version of it.  Guest vocalist Gordon Haskell sang the album version.  Then someone recently found this “guide vocal” version of Lake singing it for apparently the first and only time.

The boxes often contain brief excerpts like this one–fifteen seconds of Fripp’s classical sounding guitars from “Cirkus.”  This is kind of an acoustic bridge before we hear the full song recorded in 1971 on the Lizard tour.  This song in particular sounds very dated live and the middle “circus sounds” sections are 70s crazy.
“Hoodoo (extract)” is a 2014 rehearsal that’s all of 20 seconds which segues into a raucous recording of Fripp playing a wild guitar solo for “Sailor’s Tale.”  It’s wild and really shows Fripp throwing everything he can at the song.
“The Talking Drum” is an early alternate mix which sounds great to me.  It gets really crazy by the end.

The “Lark’s Tongues in Aspect I” excerpt is from 2014 and is just Mel’s flute for 2 minutes.  It’s followed by a 1972 extract that’s just violin and dulcimer and harp.

This turns into a great new mix of the 11 minute “Fracture.”
After a minute of gorgeous harmonics by Fripp from “Fallen Angel,” we get a full, gorgeous 6-minute instrumental version of the song.  Because Crimson songs are so complicated and so carefully constructed, they are one of the few bands whose songs can have lyrics removed without them falling flat.
There’s a weird-sounding version of “21st Century Schizoid Man” from 1974, which sounds so very mid-70s in the recording style.  It seems somewhat slapdash compared to the utter tightness of the 2014 band.  The disc ends with Mark Charig’s cornet recording for the end of “Starless.”  On the proper release they use Mel Collin’s saxophone, but the cornet sounds delightful.

Disc two covers 1981-2008.

  This is pretty much the Adrian Belew era.  Belew was not invited back for the new incarnation, so that’s a little awkward.

It begins with an alternate take of the instrumental “Discipline.”  After a 45 second drum intermission, there’s a track called “Manhattan (Neurotica)” which is an instrumental version of “Neurotica.”  I love that the opening guitar sounds like sirens and car horns.
A minute and a half of the middle of “Neal and Jack and Me” is followed by the Steven Wilson mix of “Sleepless (Bearsville)” with an incredibly 80’s sounding slap bass from Tony Levin.

Then there’s a recording session of “Sex, Sleep, Eat, Drink, Dream.”  We hear lots of stops and starts, bass only, guitar parts and someone repeating “this is tough, tough shit.”
There’s a live version of “THRAK” followed by a minute of Fripp soloing around “Larks Tongue” called “Venturing Into Joy.”

This is followed by two tracks from Fripp’s side ProjeKcts,  “The Deception of the Thrush” is performed live by ProjeKct Four in 1998 with big thumping almost splatting-sounding drums.  Then there’s a trippy and ambient early version of “Heaven & Earth” by ProjeKct X.

After a scorching “Level Five” from 2008, there’s a minute long drum solo which would ultimately morph more fully into “The Hell-Hounds of Krim” and then two tracks from A Scarcity of Miracles.  “Separation” is an edited version of the bonus track (the disc label calls it something else).  And there’s an alternate take of “A Scarcity Of Miracles”–still long and a little too jazz-lite for me.

This is a really solid collection of all eras and styles of Crimson.  And it also showcases the various parts coming together.  A great production all along.

[READ: January 19, 2018] Monsters of the Ivy League

This book collects a series of Ivy League graduates and puts them in context with a they have a lot of support for all of their declarations.  Each entry gives a brief (biased) biography that highlights their flaws, outrages and downright unforgivable behavior.

So, rather than rewrite summaries of these assholes, I’ll present a grid with the shortcut (and some choice tidbits).  You can find the book and read the details for why our Ivy leagues have bred so many shitheads, including current miscreants:

Samuel Alito, Ben Carson, Ann Coulter, Ted Cruz, Laura Ingraham, Henry Kissinger, Dr. Oz, trump, and many more.

The introduction says that the term Ivy League refers to a bunch of football teams. (That’s why it says “league”).  The League was formed in 1954 to formalize the sporting relationship between eight teams: Brown, Columbia, Cornell, Dartmouth, Harvard, Univ of Penn, Princeton and Yale.

Of course, no one goes to these schools for sports, they go to find the best future contacts for your budding careers.

But read this book and remember:

An ivy education doesn’t force you to become a hideous person, but it doesn’t necessarily prevent it, either.

What follows is a smart-shopper warning to those applying, a count-your-blessings consolation to those who have been rejected and a watch-your-back caution to those already attending.

(more…)

Read Full Post »

Julien Baker (White Eagle Hall, Jersey City, NJ, April 17, 2018)

Posted in Jersey City, NJ, Julien Baker, Tancred, The Decemberists, White Eagle Hall on April 17, 2018| Leave a Comment »

 [ATTENDED: April 17, 2018] Julien Baker

We saw Julien Baker open for The Decemberists almost exactly one year ago.  I knew her music (and that she was a quiet singer) but Sarah and I were really blown away by her live performance.

So when I saw that she was playing again, this time in a venue we’d never been to before, I thought it would be a fun birthday present for Sarah.  An opportunity to see this artist as a headliner when the crowd was there for her (we felt the Philly crowd was a bit rude for this quiet singer).

White Eagle Hall proved to be a gorgeous venue, both in appearance and sound quality.  Baker was an excellent first show to test out the acoustics because it was incredibly quiet and her voice and guitar rang out beautifully.  Although it must be said having the bars right on the floor did make for some unexpectedly loud bursts of noise. (more…)

Read Full Post »

Tancred (White Eagle Hall, Jersey City, NJ, April 17, 2018) [JULIEN BAKER]

Posted in Jersey City, NJ, Juliana Hatfield, Julien Baker, Letters to Cleo, Now, Now, Tancred, White Eagle Hall on April 17, 2018| Leave a Comment »

[ATTENDED: April 17, 2018] Tancred

When I saw the name Tancred a while back I imagined a kind of Middle-Eastern-sounding band.  I had a very specific idea in my head.  So I was really quite surprised to discover that they are actually a 90s-sounding alt rock band created (more or less exclusively) by Jess Abbott (who was in Now, Now for a time).

When I first heard “Bed Case” I was totally psyched.  It pushed all of the buttons I have for 90s female-led alt-rock.  I mean, holy cow.  There’s a total Letters to Cleo/Juliana Hatfield vibe but with a modern sensibility of not following exactly the 90’s rules.

I was super duper psyched that they were opening for Julien Baker.

Incidentally, Tancred (1075 – December 5 or December 12, 1112) was an Italo-Norman leader of the First Crusade who later became Prince of Galilee and regent of the Principality of Antioch…. thanks Wikipedia. (more…)

Read Full Post »

Jesse Eisenberg–“I Didn’t Win Any Pulitzer Prizes This Year” (New Yorker online, April 17, 2013)

Posted in All Songs Considered, Funny (ha ha), Jeff Tweedy, Jesse Eisenberg, Kronos Quartet, Music, New Yorker, Play (Drama), Short Story, Uncle Tupelo, Wilco on April 17, 2018| Leave a Comment »

SOUNDTRACK: JEFF TWEEDY-Live at NPR Music’s 10 year Anniversary Concert (December 2, 2017).

I’m going to be seeing Jeff Tweedy live tomorrow night.  So I prepped for the show by watching this 20 minute session from NPR Music’s 10th anniversary.

There were a lot of performers at this Concert but for me Tweedy’s 20 minutes was the highlight.  He stood on stage with his white jacket and white cowboy hat and he effortlessly played five songs that spanned nearly 25 years. (There’s a terrific version of “Born Alone” which Tweedy sings with Kronos Quartet here).

His guitar playing is simple but effective and works as a perfect backdrop for his the focus of his voice and lyrics.

Thankfully for us and the audience at our 10th anniversary concert on Dec. 2 at the 9:30 Club, Tweedy’s set managed to run the gamut of [his] celebrated career. From his beginnings as a slack, alt-country rocker (playing Uncle Tupelo’s “We’ve Been Had”) and A.M.-era Wilco (with “Passenger Side”) to his recent turn as Mavis Staples’ producer and songwriter (on “Jesus Wept”) and later, Nels Cline-era Wilco (“Locator”).

The constant in all this experimenting is Tweedy’s voice as a singer and songwriter — one that invites a deep trust, even when it courts darkness. Performing solo with an acoustic guitar, his voice was once again at the center of it all.

The first song, “Bombs Away,” was previously unreleased.  The lyrics were thoughtful and stark

“I leave behind a trail of songs / from the darkest gloom to the brightest sun,
I’ve lost my way, but it’s hard to say / what I’ve been through should matter to you.”

When he starts Uncle Tupelo’s “We’ve Been Had” the smoke machine sends wafts across his face.  “Is something on fire?  …  I am cooking!”  The song soars and is one of the more upbeat songs he plays.

He follows with “Locator” from Schmilco.  It’s certainly odd on the record, but this acoustic version lets you see the foundation of the song before all of the cool effects are added.

He plays the pretty but rather downbeat “Jesus Wept” which is something that he worked on with Mavis Staples for their collaborative album.  I don’t know her version, but his is delightful.  When it’s over he says, “I thought I’d pull that one out because it’s such a big celebration….  It’s a fun song.  Can anyone think of a song I should play that’s celebratory?”  [audience shouts out].  Jeff continues, “so you don’t know any of my songs, that’s cool.”

Someone shouted out “Passenger Side” and he plays that.

He ends with “I’m The Man Who Loves You” which gets lots of applause.  He has some fun with fast guitar playing, and he is clearly having a grand time.

I can’t wait to see what he does with a full set.

 

[READ: January 25, 2017] “I Didn’t Win Any Pulitzer Prizes This Year”

This piece was not in the magazine.  It was in the Daily Shouts section online.  I am refraining from writing about these online-only posts in general, but this one slipped past my print-only radar.

Just how do you stretch out a premise like this for an entire essay?

He explains that this egregious omission continues his twenty-nine year streak of not receiving even one of these prizes.

Overlooked in nonfiction: an email with the subject line “Re: (No Subject).”  The Prize committee did not conclude that the email was informative “but its brevity was what pushed it over the edge.” (more…)

Read Full Post »

Waxahatchee (Union Transfer, Philadelphia PA, April 16, 2018)

Posted in Allison Crutchfield, Feminism, Katie Crutchfield, Kevin Morby, Philadelphia, PA, Superchunk, Swearin', Union Transfer, Waxahatchee on April 16, 2018| Leave a Comment »

[ATTENDED: April 16, 2018] Waxahatchee

I really enjoyed the newest Waxahatchee album and I was keen on seeing them/her.  Waxahatchee is more or less the work of Katie Crutchfield.

It amused me that I had purchased a ticket for this show and then a few weeks later I got a ticket for Superchunk and their opening band was Swearin’.  One of the lead singers in Swearin’ is Allison Crutchfield, Katie’s sister.  So I’d be seeing both Crutchfield sisters in less than a month.

I also learned recently that Allison usually performs with Katie in Waxahatchee when they tour.  And she did.  So I have seen and heard Allison Crutchfield quite a lot in the last month or so.

They played for an hour and ten minutes.  How do I know this?  Because the guy in front of me filmed the entire show on his phone and I could see the timer at the top.  And not just standing still and filming, he was swooping and angling, zooming in and trying to get every scene.  It was a little creepy to be behind him, I must admit.

Both Katie and Allison called Philadelphia home for a while, so this was a homecoming for them.  Katie said that she wrote most of the new album while in Philly.   (more…)

Read Full Post »

Hurray for the Riff Raff (Union Transfer, Philadelphia PA, April 16, 2018) [WAXAHATCHEE]

Posted in Bedouine, Bruce Springsteen, Feminism, Hurray for the Riff Raff, Langston Hughes, Philadelphia, PA, Union Transfer, Waxahatchee on April 16, 2018| 1 Comment »

[ATTENDED: April 16, 2018] Hurray for the Riff Raff

 I knew of Hurray for the Riff Raff (I love the band name) from a couple of songs, but it wasn’t until their most recent release that I learned that lead singer (and really the constant of the band) Alynda Segarra was not only Puerto Rican (she calls herself Nuyorican) but was active in her commitment to Latino causes.

This commitment is evident on their new album The Navigator which explores many aspects of Puerto Rican culture  and music, but keeps it wrapped in a rocking New York vibe.  Segarra is also a striong feminist, writing songs for an about women.  Her stage presence is a striking combination of “don’t fuck with me” and “I’m going to have a good time.”

Segarra is an excellent front woman. She commands a room and gets everyone involved in her songs.  She told empowering and infuriating stories to introduce the songs which made them even more engaging.

Most of the set came from their new album The Navigator which was great because I love the diversity of the disc.  There were a couple of songs in the middle of the set (which turned out to be older songs I think) that were a little flat musically, but the rest of the set was dynamite. (more…)

Read Full Post »

« Newer Posts - Older Posts »