Wild Ones

Wild Ones at Marmoset Day Party, MFNW (RIP) 2013

We may have missed Wild Ones the last time they played Atlanta, but that doesn't mean the love stopped, though.   Here's their new video for They Said.

My Mistakes

Despite my frequent announcements and hyping of the show, The Mynabirds will NOT be performing at Aisle 5 tonight - the show was actually last month, September 29, not October, and like an idiot I've been touting a show the last few weeks that's already passed.

I posted several times how excited I was that Braids was going to be opening up for Pure Bathing Culture at the Drunken Unicorn, but it was actually The Wild Ones opening for PBC, and Braids was a separate show on a separate night at a separate venue.

And I've totally confused the local Atlanta bands Book Club and Book of Colors, and it's almost random which band I'm referring to when I use either name - it's apparently a 50-50 toss-up.

And those are the mistakes I'm aware of - I shudder to think how many I've made that I've not yet realized, not to mention all of those too-numerous-to-count typos and spelling errors.

I'm an old man.  I really have to seriously consider the possibility of age-related dementia at this point.

But YOU, dear reader, I've got a bone to pick with YOU.  None of you have pointed any of these errors out to me, which suggests one of three possibilities:

1. Nobody's actually reading this blog, so there's no one to correct my errors.
2. Folks notice the errors, but no one cares enough to bother pointing them out.
3. People read and believe the errors and this blog has become a source of misinformation and confusion to unseen others.  

Any one of these three possibilities lead to the conclusion that I should just discontinue this blog. Why post if no one's reading?   Why post if no one cares?  Why post if I'm only confusion people?

But I don't want to sound plaintive or like I'm pleading for someone to tell me to keep going, and to be honest the force of sheer stubborn habit will probably keep me posting even if this blog is nothing more than my own record of shows I've been to and shows (I think) I'm going to see.  And if anyone has shown up at a venue only to find the band that I talked about wasn't playing there, I offer you my deepest apologies.  

My bad.

Buyer's Remorse

I finally made the difficult decision regarding the competing Destroyer and Pure Bathing Culture/Wild Ones shows here in Atlanta on October 9 and bought tickets to go see Destroyer at The Loft, but now hearing this Oregon Public Broadcasting set by Wild Ones, I'm second guessing myself and wondering if I hadn't made the wrong decision.

Shilly-Shallying, Dilly-Dallying, and Sitting on the Fence: Indecision Bordering on the Aboulomanic In Selection of Live Pop Music Performances, or Destroyer vs. Pure Bathing Culture and Wild Ones

Wild Ones at the Marmoset Day Party, MFNW (RIP) 2013

How do we make the aesthetic choices that we make and what are the bases for those decisions? Portland's Wild Ones will be performing at The Drunken Unicorn on Friday, October 9.  That should be all that we need to know to reach  decision to spend our evening on Ponce, but for additional motivation, here's a video directed by Montana Wildhack (a name that should be familiar to Vonnegut fans) for their song Dim The Lights.  

Unfortunately, though, October 9 is the same night Destroyer (the enigmatic genius and occasional New Pornographer Dan Behar) will be playing at The Loft.

There will undoubtedly be those who would choose Destroyer at The Loft over Wild Ones at The Unicorn due to the greater name recognition and Pitchfork approval of the former with regard to the latter and, all other things being equal, I would probably be one of those people, but tipping the scale in favor of the Unicorn is the fact that Wild Ones aren't even the headliners, but will be opening for Pure Bathing Culture.

As you can hear, Pure Bathing Culture have adapted a louder, more complex sound than in their previous songs, and even though we've already seen PBC twice before, it should be interesting to hear how they present these new productions in a live setting.  "It changed us," singer Sarah Versprille recently told Interview, speaking about the new sound, "and the way we think about our music." 

So how do we make the aesthetic choices that we make and what are the bases for those decisions? We could choose to go see Destroyer because they're better known, have more critical acceptance, and hearing them might make us seem somehow cool in front of those certain people who perceive hipness in terms of Pitchfork ratings and numbers of digital downloads, or we could choose to go see Destroyer on the basis of the fact that we've never seen them before and can check them off of the lifetime bucket list, while we've seen Wild Ones once before and Pure Bathing Culture twice.  

Or we could choose to go see Wild Ones and Pure Bathing Culture for the very reason that we have seen them perform before and now feel a certain affinity for their music, a sense of identification with the bands and their fans, and an intellectual interest in observing how their creative process has evolved over the past couple of years (i.e., what are they doing now?).    

Or we could choose to go see Destroyer because Dan Behar is, as previously described, an enigmatic genius and is likely to bring something special, unique, and memorable with him to The Loft.

Those looking here for a solution to this dilemma are going to be disappointed, as I still don't know the answer myself and may not until I stop thinking about it, and the decision isn't made any easier knowing that Autechre is also playing that same night over at Terminal West.  The more I consider the pros and cons, the list of reasons for and list of reasons against, the harder it is to choose, and I'm most likely to just go with the gut when the time comes and make my decision, not based on the intellect, but on impulse. 

Best New Artists 2013

Look, it's not that I'm without any self awareness.  I know that nobody cares what an old man living in Atlanta, Georgia of all places thinks are the Best New Artists of 2013, but the closing days of the year are traditionally when everyone posts their "Best Of'" lists, and I don't want to miss out on the fun just because my opinion's irrelevant.  And as it turns out, all of my "Best New Artists" of 2013 are women, or at least female-fronted bands.  2013, it seems, was The Year of the Woman, at least in music.

I was temped to try and write something clever about each band, but then decided to just let the music speak for itself and let you, the reader, construct your own narrative.

So here they are, my picks for BNA13, presented in alphabetical order:

Chvrches (Scotland)

Courtney Barnett (Australia)

Lucius (New York)

My bubba (Iceland)

Pure Bathing Culture (Portland)

Savages (London)

Summer Cannibals (Portland)

Torres (New York)

Women's Work (Atlanta)

Wild Ones (Portland)

Wild Ones

Danielle Sullivan of Wild Ones at Marmoset, Sept. 5, 2013

Wild Ones, one of the many, many highlights of the now infamous Day Three of MFNW, recently posted a Soundcloud gadget for their song From Nothing on their Tumblr page.  It's definitely worth your time to take a listen to this one.

MFNW 2013 - Day Three Retrospective

Day Three, Thursday, is when MFNW finally got into full swing, and this particular Thursday, this particular Day Three, was probably about the most awesome day one could have reason to expect.

It started with a 10:30 am set by Chvrches in the small, intimate Doug Fir Lounge, a broadcast performance for KEXP.  I got right up front by the stage, much, much closer to Chvrches than I had gotten the night before. An over-zealous KEXP volunteer wouldn't let me take pictures; however, I still managed to squeeze out a couple of Lauren Mayberry during the set.

Someone else was able to sneak an iPhone video of an entire song (Recover).

And if you haven't fallen in love with Mayberry yet, here's her Jawa impression, which ought to do it for you (did for me):

Since KEXP, or at least their volunteer, wouldn't let me take any pictures, here are the ones from their website:

After seeing Chvrches the night before at the 1,400-person Roseland Theater, it was pretty cool seeing them the next morning at the Doug Fir (300-person capacity, although there were only about 75 people there for the weekday morning set).  In Atlanta terms, it's sort of like seeing a band at The Tabernacle and then again the next morning at The Drunken Unicorn.

At noon, The Baseball Project played a KEXP set at The Doug Fir.  The Baseball Project is Steve Wynn (Dream Syndicate), Mike Mills (REM), Scott McCaughey (The Minus 5), and drummer Linda Pitmon.  Peter Buck of REM is in the band as well, but wasn't at the Doug Fir.  

All of their songs are about baseball, either the game itself, or individual players (e.g., Jackie Robinson), or memorable MLB moments (e.g., Doc Ellis plunking the first three Reds batters in the first inning of a game).  Even if you're not a fan of the game, it's still fun just to hear their REM-style jangle-pop, and watch them try to find new things to say within the self-imposed limitations of The Baseball Project.

Here's some more KEXP pictures (the photo nazi was still patrolling the crowd):

At 2:00 pm, we got !!!.   We saw !!! at Bumbershoot just a couple days before, and just like Chvrches earlier in the day, it was great seeing them up close and personal at the Fir (I was front row).  I posted the Dude-I-Was-There! video a few days ago, and there's really nothing more to be said, so here's the KEXP photos from that set:

Austra was up next at the Fir, but I left after !!! to go to a party for VIP wristband holders put on by Marmoset music.  I don't know what Marmoset actually does - I think it has something to do with licencing soundtrack music for movies - but they have a warehouse in southwest Portland and were hosting a party with free beer (Heineken) and music.

Not fully knowing what to expect, I headed down and wound up having my best time of MFNW.  When I arrived, Portland's Wild Ones were on stage.

I didn't know who they were when I arrived, and when I leaned over to ask the people standing next to me who the band on stage were, I realized that I was standing next to the superb Portland band Radiation City, whom we saw at The Earl a few months ago.  In fact, as I hung out for the day, I began to realize that fully half the audience, at the very least, were musicians, some of whom were playing that day, and some of whom who weren't (e.g., Onuinu, who was milling about the crowd).  Free beer, good music, rubbing elbows with the bands - what more could a music fan want?

Marmoset had two stages set up, one outside under a tent, and one inside the warehouse in a mock-up living room.  After Wild Ones, San Francisco's Family Crest played the inside stage.

As you could guess from the picture above (by the way, note the Boxed Water cartons on the floor), the Family Crest plays orchestral folk-rock.  What you can't tell is how great they are at playing it.  They had me absolutely mesmerized with their well-honed songs.  They reminded me of early Fanfarlo, and I was impressed enough to buy their CD, the one and only CD I bought that whole week at either MFNW or Bumbershoot - they were that good.

I had wanted to see the Portland band Shy Girls, who were up next at the outdoor stage, but I went to get something to eat first (Marmoset had several food trucks set up at the party) and wound up talking for a while to a bunch of folks (an environmentally-conscious gay couple who had also bought the Family Crest CD and a straight older couple, older even then me, who were nonetheless fans of the Portland music scene).   After my lunch, I went back inside the warehouse and caught the Bay Area musician, songwriter, producer, and recording engineer (Tiny Telephone studio) John Vanderslice.

Vanderslice performed a solo set on acoustic guitar, singing politically aware songs in between some of the most personal yet hilarious stage banter I've heard in a while.  I can't remember a word he said, though - I can only remember laughing.  

Next up was North Carolina's lo-fi The Love Language.

It was inevitable, but during The Love Language set it finally started to rain, the first rain I've encountered in three consecutive years of MFNW.  I was prepared for it - it had been cloudy all week and well forecast - and I was wearing my new REI raincoat, bought just for this occasion, so all was good.  Besides, we were under a tent.  No worries.

We've seen The Love Language opening for The War On Drugs at Variety Playhouse during March Madness 2012.  They played a typically loud, energetic set, and later that day, Radiation City credited them for being the band that inspired them to start a band of their own.  It was that kind of feel-good, mutual-admiration day.

By this time it was raining pretty hard, but I simply dashed from the tent back to the warehouse to hear Eric D Johnson, singer, guitarist, and frontman for the fine band Fruit Bats, one of the highlights of Bumbershoot 2012.

As he was setting up, someone brought him a beer, even though he already had one (or two) on stage with him.  He turned to me, sitting just a couple feet away, and offered me his beer.  It's not often when the band gives you the drinks, and even though they were free, the gesture was appreciated.

Johnson played a great set of Fruit Bats songs, and the appeal of the band has always been Johnson's quirky voice and the great songwriting, so nothing was lost in the stripped-down, solo versions.  A fine, fine, satisfying set.

If that was it for the party - Wild Child, The Family Crest, John Vanderslice, The Love Language, and Eric D Johnson - it would have been a great event, but as the late-night commericals say, "But, wait, there's more!"  Portland's Radiation City played next under the tent, performing their bubbly, upbeat pop songs, and temporarily driving the rain away.

I don't know if I've ever seen singer Lizzie Ellison not in a see-through blouse.

Radiation City at Marmoset Party, MFNW 2013

Radiation City at OPB Party, Mississippi Studios, MFNW 2013 

Radiation City at The Earl, June 2013

You gotta love a woman who sings so well, writes such great songs, and has a seemingly endless wardrobe of see-through blouses.

Meanwhile, back in the warehouse Daniel Blue of the band Motopony performed a set with a few friends.

This was one of the most dramatic changes is stage appearance I've ever seen.  We saw Motopony back at Bumbershoot 2011, and were blown away by their driving music and avant-glam look, especially singer Daniel Blue, who looked like the love child that Jim Morrison and Kurt Cobain might have had, if such a thing were biologically or chronographically possible.

Motopony at Bumbershoot 2011

It was hard to believe that the quiet, almost shy, young man in the flannel shirt and carrying a "This Machine Does Not Kill" guitar was the same person who performed so flamboyantly at Bumbershoot, leading to my wondering which was the persona and which was real?  Both?  Neither?

Of course, ultimately it didn't matter, as Daniel and his young friends played a soothing and totally charming set of sincere folk, with the ladies seductively purring sweet background vocals.  Another great set, and Daniel Blue just becomes more and more interesting.

By this time, it was getting dark and the rain had returned, but Florida's Surfer Blood headlined the party.

Their sound matches their name perfectly - loud beach music that you might expect to hear at a frat party.  Of course, it's hard to take them seriously anymore ever since frontman John Paul Pitts' arrest on charges of domestic battery.

But forgive and forget, I say.  I almost hate to admit it, but they rocked.

So that was it for the Marmoset party, quite possibly one of the coolest, if not the coolest, parties I've ever been to.  A stellar line up of bands, free beer, lots of free snacks, and rubbing elbows with the bands, most of whom hung out to hear each others' sets.  The hours spent at Marmoset were the highlight of a very highly lit week.

But wait, there's more!  It was only about 8:00, and even though I had missed Youth Lagoon's rain-soaked set at Pioneer Courthouse Square, there was still a lot more MFNW to go that day.  I hopped onto a bus just a couple blocks away from Marmoset, which soon dropped me off right in front of the Star Theater, an historic, former silent film theater just off Burnside Street in Old Town, Portland. The place was once a burlesque showcase, an adult movie theater, and a strip club where a teenage Courtney Love once worked. The property was owned for several years by Gus Van Sant, who eventually sold it to the owner of Dante's, who turned it into a fairly upscale live music club.

The spooky drone metal band Vice Device started just after I arrived.

So that was cool.  The next band up was Diana, named after their lead singer.

I don't know exactly what it was that didn't quite click for me with this band - quite possibly it was the time of the very long day (they were about the 13th band of the day for me).  Maybe it was that I wasn't familiar with their songs, or that I couldn't comfortably place them into any particular category.  In any event, my attention wandered during their set, at least until I realized that I was standing, or rather leaning against a rail, next to one of the members of The Family Crest, my new favorite band of the day, still dressed in his grey shirt and tie.  Anyway, Diana's band features a tenor sax, so there's that.

The headliner, and the 14th and final band of my day, was Toronto's Austra, the band I passed on at the Doug Fir earlier in the day to go instead to the Marmoset party.

We've seen Austra before, back during Rocktober 2011 when she played The Earl (with Grimes opening!), touring in support of her debut Feel It Break record.  We saw her again at The Tabernacle opening for The xx, where she previewed a lot of new songs, which eventually became her second album, Olympia. Her tour in support of that new album took her through Atlanta, a show that I missed, although I've heard that she didn't have her remarkable backup singers, twin sisters Sari and Romy Lightman, who also perform as the band Tasseomancy, in Atlanta (they weren't with her at the Tabernacle show, either, but were in tow at The Earl in 2011).  Fortunately, they performed with her that night at the Star, adding an extra dimension to the show.

The performance was spectacular and epic and everything you'd expect from an Austra concert.  Katie Stelmanis' voice was in fine shape as she carried the almost operatic vocals.  The band was tight and muscular, propelled by Maya Postepski's precise drumming.  It was a perfect climax for a perfect day, and when I finally left the Star Theater, the rain had subsided to a mere drizzle, providing a cool and comfortable walk back to my hotel.

It's for days like this that I do all of this, that make it worth the flight out west, the hotels, the off-days, the disappointing sets, and the long hours.  This day made it all worth while.  This day was perfect.

It's my hope that you too, gentle reader, have many days as good for you as this one was for me.