Hey guys,
As promised, here are some links to the songs listed under our mix-tapes.
Gold Sounds – Pavement: http://www.youtube.com/watch?v=rj6QilYg5VA
We Are Beautiful We Are Doomed – Los Compesinos:
Animal – Miike Snow:
Blood Bank – Bon Iver (explicit)
http://www.youtube.com/watch?v=774mOmdKtZM
Yankee Bayonet – The Decemberists
The Tealights came to Notre Dame in October for an in-studio acoustic set. Check out some footage at http://www.nd.edu/~wvfi/videos.html and http://www.ilovetealights.blogspot.com. They played “Passport” from their album “Take Us By Sea.”
Get excited for their concert at Legends this December!
Hey guys,
I’m new to this so bear with me. But instead of my first blog post ever being about Music or Art or Literature, its going to be about the antithesis of all this greatness…. NASCAR!!!!!!!
First of all let me get my strong feelings out about Nascar…
It is fast-paced, dramatic action (like watching Grey’s Anatomy during its early seasons(never saw it, but I heard good things)) that is chock full of EXCITEMENT and SPEED. People hate it claiming that the drivers just go in circles, but they do have 2 road tracks that are not purely circles. Furthermore, they are OVALS! WOO! Also they are not merely driving, they have to execute drafting and timing/gas strategies. Its like a chess match between Gary Kasparov and Deep Blue packed into one oval track. Adding to this excitement is the off track tension of what each driver is going to say or do? Is Kyle Busch going to get super angry at Brian Vickers and maybe attack him? Is Tony Stewart going to eat a Whopper and then read Shakespeare? Is Jeremy Mayfield going to do methamphetamines (he would if he weren’t in jail)? So therefore I defend, I offer my apology, to NASCAR on the arts and literary circuit.
My friends, I entreat you, I IMPLORE you to give NASCAR a chance. It may just change your life!
To the mindset staff:
Please send me your articles tomorrow or bring them to Mindset. Thursday at 7:15 as always.
Thanks!
My new favorite band features Nate Ruess of The Format (RIP), Andrew Dost of Anathallo, and Jack Antonoff of Steel Train. Their CD, “Aim & Ignite” features the familiar pop sound of The Format, with plenty of room for clapping and tambourines, as well as the brassy instruments frequently featured in Anathallo songs.
Check em out: myspace.com/fun
Indie-crunk rockers Somersaults have finally released their long-awaited CD-R. I first heard the band way back in 2005 when they opened for Ted Leo and the Pharmacists in the Lafortune Ballroom. Over the next few months, I had the privilege of seeing them a couple of more times, until the inevitable post-graduation hiatus. These guys were a huge part of the campus music scene for me for the brief time such a “scene” existed for me. I’d offer my own limited knowledge of the band’s history, but instead, Dav González gives us his own words on the band and their new album.
Somersaults formed in the summer of 2004 after the dissolution of the Mondays, of which Kevin and Nathan were a part. Spurred by a need to have fun and to create, I approached Kev and Nate, asking if I could play with them. They agreed, and after a game of freeze tag I worked up the nerve to ask to play music with them. Again, they agreed, and for the better part of a year we thrashed about, making noise, engendering tinnitus, and soaking ourselves in sweat. In our furor, Nathan broke his “drum stool,” I went through 10+ packs of strings, and Kevin broke his glasses and the door handle of our practice space. (Many thanks to Maggie for getting us out, and for putting up with us in general.)
After some time we decided to buckle down and play some shows, which involved distilling our memorable themes into manageable pieces, especially the 40-minute beast that became “Iowa.” After some distillation and performance, in the spirit of seriousness, we recorded four of our songs for the unreleased Songs of Travel EP, and decided to add a member. Come Fall of ‘05, decked in tight girl pants while making hooker and dead baby jokes, Jason sprung into Somersaults. We began to practice and perform regularly, birthing a good group of songs, and eventually recording most of them over two sessions at Carterco Studios in Chicago.
In terms of artistic intent, I think it is safe to say that there was none. This is not to say that the music was not cared for, or crafted. What I’m trying to say is that there was no conceptual end for which we were striving. Somersaults was purely emotional and reflexive.
Somersaults became a constant in my life, one that allowed venting of frustrations with relationships, school, work, family, and miscellaneous life events. There were times when the thought of practice, whether it be to introduce a new idea or to get really ****ing loud, was all that got me through the week. It is something that I was glad to be a part of, and am proud of looking back.
I mixed and mastered this collection to the best of my ability, which was limited considering I have no experience mastering audio. Mixing was also hard, given that our two Carterco visits were very rushed live recordings, played with substantially different equipment. Also, some data was lost, and I had to rerecord a few sections, including the complete replacement of Jason’s voice with Kevin’s on “Surgery.” Despite all this, I’m content with the results (for the most part) and hope that these songs can come to play a part in your life as they did in mine.
If you want to sing about whores and harlots, go ahead. If you want to insert a random folk song into your pop/alternative rock album, I guess I can live with that. Make up a fantastical world where 9 p.m. is still the afternoon, and I’ll play along. Do what you want, Panic at the Disco, but don’t lie to me.
I’ve stuck with you through the years—all three—and the least you could do is be honest. I watched as the concept album you were working so hard on fell apart. I made it through the disappearing exclamation point in your name. I was even fine with your new sound. It was upbeat, refreshing, and, as most critics are saying, a little reminiscent of The Beatles. Who doesn’t love The Beatles?
Yes, you are bold, brave, experimental, and I respect that. But where-oh-where do you get the nerve promising me, “You don’t have to worry, ‘cause we’re still the same band”? Let me tell you, boys, I sincerely hope this is a joke.
Ever since this new album dropped, I’ve felt like I don’t know you anymore. That fever you said couldn’t be sweated out? Gone. The crazy techno beats of 2006 have been replaced with guitars, trombones, trumpets—instruments I didn’t even know you knew. I know that, in many ways, you are still the same band, so maybe we can still work things out.
And if it was all just a joke, Panic at the Disco, I beg that you please stop toying with my emotions. It’s the least you can do after what we’ve been through together.
On Friday Jack’s Mannequin came to Stepan Center, and between screaming “I love you!” and fanning myself (don’t you wish I was kidding?) I managed to snap a few pictures, which I will get up as soon as possible.
Andrew played hits from Everything In Transit, and a few songs from his up-coming album, which was originally due this spring but has been postponed until the summer.
For an encore, fans were treated to Something Corporate’s “Me and the Moon” and Tom Petty and the Heartbreaker’s “American Girl.” During both, a few visiting high-schoolers and ND students looked slightly puzzled.
Andrew McMahon has been performing with Something Corporate and Jack’s Mannequin for about a decade , and he never fails to provide an incredible concert. His energy, piano skills, and voice never fail, and all Jack’s Mannequin fans left satisfied, though few tag-alongs were converted.
Saturday, Chicagoland’s Lucky Boys Confusion brought punk/reggae to Legends, resulting in the closest thing the club has seen to a mosh pit since Flogging Molly last year. They were preceded by a band who’s name and music I don’t remember, with an f-you attitude that the students returned.
LBC provided a great concert, earning new fans by the end of the hour.
On Tuesday, April 1, guitarist and singer-songwriter Kaki King will perform at Chicago’s The Empty Bottle ($15, 21+). Her current tour, which kicked off last Wednesday in Jackson, Wyoming, runs thru mid-April.
King’s music has evolved since her first two releases. Once a strictly solo acoustic musician, her last two albums have ventured into more electric territory, drawing upon influences such as post-rock and shoegaze. Nevertheless, King insists her songwriting process hasn’t really changed: “I still write songs the same way I used to. What I do to them in the studio, that changes.” She further discounts the notion that there’s a huge distinction between her earlier work and her more recent output, because, at their core, her songs still contain “catchy, strong melodies.” Listening to a variety of both instrumental and vocal music, King says she doesn’t “think of it as one or the other.”
How does a person even get into that style of guitar music? In her early teens, King started listening to artists like Red House Painters, Nick Drake, Michael Hedges, and Will Ackerman. At that point, King says she had reached a point in her guitar playing where she was “competent enough to go into new territory and didn’t really feel the jazz guitar route or the metal guitar route.”
Still, how exactly does one begin to play music like that? Don’t rush to get lessons. King says, “Initially, you have to venture on your own. Everyone has an instructional book, and there’s a lot of tab out there. You just have to let go. If you’ve taken many guitar lessons, it’ll be hard to do that.” King maintains that, for this type of music, “Pedagogy is not the way to go.”
Recently, King has collaborated with other musicians, notably appearing on the last Foo Fighters album and on Tegan and Sara’s The Con. For the latter project, King’s involvement wasn’t a huge formal undertaking — she has been friends with Sara for years. King explained to me these types of collaborations are “kind of an excuse just to hang out.” She notes, “It’s best when you’re friends, and you’ve been in touch. It’s so much easier when you’re not worried that, ‘Oh, my name is going to be attached to this project.’”
Before she made music for a living, King was a student, just like you and me. She studied music at NYU, focusing on what is perhaps better described as a literature-heavy “philosophy of music.” At the time, though she had been playing guitar, she never thought “this is the life for me.” On the topic of graduate school, King reveals that, if she hadn’t become a musician, she would have probably gone on to law school, following in the footsteps of her parents: “When you’re raised by two lawyers, your brain gets shaped a certain way.” In another life, King sees herself as “cuddled up somewhere, poring over books and research.” Lesson: if your band doesn’t take off, don’t dismiss law school.
Luckily for listeners, King’s music career did blossom. Check her out next week in Chicago and pick up her latest album, the stellar Dreaming of Revenge.
Bell X1 are an Irish rock band, which once featured Damien Rice. Rice left the group in its infant stages, but since his departure the band has gone on to release three critically-acclaimed albums. Their most recent Flock is the first to be made available here in the States. I had the pleasure of reviewing for WVFI and highly enjoyed it. Bell X1’s sound is not easily described, but I venture if you put Radiohead minus the computer/binary craziness and a more fun Coldplay in a blender, you’d get something pretty close. Think modern pop-rock with a soothing atmospheric texture accompanied by lyrics that amuse and amaze.
Some recommended tracks are: “Rocky Took a Lover”, “Eve, the Apple of my Eye” (video above), “Bigger than Me” and “Just Like Mr. Benn.”
For more about Bell X1 head to their myspace.
