With Pigeon John
October 6, 2008
Week Of Shows, Episode 10

Did you hear the one about the English folk-pop group and the hip-hop artist that met in a bar?

No punchline here.  Just a great night of music at Spaceland Monday night.

Coming off their blustery appearance at Saturday’s LA WEEKLY Detour Festival, BBC and NME darlings Noah And The Whale were greeted by an overflowing, industry-studded crowd when they took the stage early in the night.  Though their set was plagued by a variety of audio and technical difficulties, they represented themselves well, converting those who might have cried “hype!” before their performance.  While Noah’s release Peaceful, The World Lays Me Down is pleasant enough in a near-twee, Belle and Sebastian-meets-Vampire Weekend sort of way, their live mission equates to a far more involved, cinematic experience.  As was the trend this week at other concerts, the unsated audience called for an encore at the conclusion of Noah’s set.  For their efforts, they were rewarded with a not-essential but certainly fun and in-the-moment cover of The Smiths’ “Girlfriend In A Coma.”

Providing a bit of an aural sorbet after Noah And The Whale, L.A.-based act Pigeon John treated the waning crowd to lighthearted trek through some of their latest material, introducing hip-hop to the evening and paving the way for Spaceland’s October resident, Kenan Bell.  Lyrically astute yet comedic, Pigeon John’s set highlight was a number about women who make connections with men just to get access to their famous friends – a representative indictment of life in Hollywood if ever there was one.

Closing out the night, emerging local hip-hop luminary Kenan Bell presented a tight and energetic set, his live band rendering an infectious platform for his effortless rapping.  Though at times sounds in voice Bell can sound a bit like Eminem, his subject matter is decidedly his own and he excels at making certain both his flow and music are laden with hooks.  Providing further proof of The Morrissey Unifying Theory Of All Things, Bell followed up on Noah And The Whale’s own Smiths nod with a performance of his song “Save Your Life,” which contains samples from “The Night Has Opened My Eyes.”  Bringing out Noah’s horn player as well as inviting half the audience on stage for his final number (including a member of local act The Deadly Syndrome), Bell made certain his inaugural residency show went out with a bang.  Bell’s Spaceland residency continues every Monday this October.  Admission is free.

Tags: Belle And Sebastian, cinematic experience, Eminem, Girlfriend In A Coma, hip hop artist, Kenan Bell, LA Weekly Detour Festival, live review, Los Angeles, Morrissey, Music Zeitgeist, musiczeitgeist.com, NME, Noah And The Whale, Pigeon John, Spaceland, The Deadly Syndrome, The Night Has Opened My Eyes, The Smiths, Vampire Weekend

Check out this exclusive podcast interview with elusive MusicZeitgeist.com writer Truffle Jones during his exhaustive Week of Shows.

They cover such an exhaustive range of topics and bands from how indies should design their merch to why My Bloody Valentine still sounds more modern than ever, the hottest new indie bands you’ve never read or heard about anywhere (yet), mr. Gnome, Margot & the Nuclear So and So’s, Dandy Warhols, the downtown LA Weekly Detour festival featuring Mars Volta, the new Kings of Leon album and what it will take for MGMT to be truly ready for the big time.  There’s too much to list – you’ll just have to hear this one hour action packed special for yourself.

You can also hear it/subscribe to the podcast in iTunes.

Tags: Beck, Courtney Love, Dandy Warhols, Greek Theater, indie music, iTunes, Kings of Leon, LA Weekly Detour Festival, Los Angeles, Margot & The Nuclear So And So's, mars volta, MGMT, mr. Gnome, My Bloody Valentine tour, Pixies, PJ Harvey, podcast, Primus, Radiohead, Rage Against the Machine, Rattle and Hum, Rush, Sigur Ros, Tool, Truffle Jones, U2, Week of Shows

With David Vandervelde, Judgement Day
October 7, 2008  8:00 PM
Week of Shows, Episode Ten! 

Indianapolis octet Margot & The Nuclear So And So’s will make history tomorrow when Epic Records issues not one, but two albums of new material from the band.  What makes the situation noteworthy is that the first, Animal!, is the album the band wanted to put out, which Epic rejected.  The second, Not Animal, contains the songs Epic wanted to release instead.  Whether or not this compromise will be helpful or harmful to the band remains to be seen, but one thing’s for certain: more industry eyes than just those at Epic will be paying attention to the results.

 

 

As part of our show preview, we were hoping to ask the band about this unusual strategy, and also if there was any significance to their playing Los Angeles on the day of their dual release, as opposed to Indianapolis or their apparently adopted hometown of Chicago.  Though Margot was game to chat when we contacted them directly, their fancy, major-label publicist had not returned our inquires to schedule said interview as of press time.

In any event, both albums streamed for a day on the band’s MySpace page last week, and though some songs grace both records, the content of Animal! appears to lean more toward a post-modern Fleetwood Mac, whereas Not Animal sounds more like a direct descendent of Margot’s (non-Epic Records) debut, The Dust Of Retreat.  However, in neither case did the songs particularly represent the noisy, electric guitar-driven fare band leader Richard Edwards had alluded to in previous interviews (though we’ve learned to digest Edwards’ statements with our salt shaker at the ready).

Margot, a perpetual touring machine, puts on a live show that wavers between the heartbreaking and boisterous, combining a standard rock ensemble with strings, horns, keyboards, percussion and other atmospheric elements, all firmly anchored by Edwards’ rock-solid songwriting.  As they’ve played better rooms to bigger, more enthusiastic crowds each time they’ve come through town, we suggest catching them now, which will no doubt qualify some day as “back when.”

Editor’s note: Truffle Jones concludes his Week Of Shows feature tonight, and looks forward to attending his eleventh consecutive show tomorrow night without having to write a review.

Please leave a comment if you like this article we love hearing from you!

Tags: Animal!, David Vandervelde, Epic Records, Fleetwood Mac, Indianapolis, Judgement Day, Los Angeles, margot, Margot & The Nuclear So And So's, Not Animal, octet, Richard Edwards, The Dust of Retreat, The Troubadour, Truffle Jones, Week of Shows

October 5, 2008
Week Of Shows, Episode Nine

Liz Phair Performing Exile In Guyville in its Entirety – Again

“Hello.”

“Hey, it’s me. Did I wake you? Your cell went straight to voicemail, so…”

“What time is it?”

“Not that late. I just got home from a show. I know your iPhone gets crappy service so I figured your landline…”

“It’s one, on a Sunday. That’s late. Everyone’s cell is off.”

“Sorry. I was hoping you were up.”

(stifling a yawn)

“I am now.”

“Well, I can call you back, it’s stupid anyway…”

“No, it’s okay. What’s up?”

“This work thing, for the site? This ‘Week Of Shows…’ I’m sort of stuck. I mean, I went to Liz Phair tonight but I already wrote about her a few months ago. It’s going to be lame if I write her up again.”

“So don’t.”

“I don’t want to… But I bought my ticket way before this go-to-shows-every-night-for-a-week thing came about. I had to go. I wasn’t planning on reviewing it. And I’ve already written twice about this band mr. Gnome? I don’t know. I guess I kind of painted myself into a corner. You’re always good at figuring this kind of stuff out.”

(muffled noises)

“You there? Hello?”

“Yeah, no, I’m here. Why don’t you just go to Relax and write about whatever bludgeon metal band is playing.”

“I guess I could. I’m beat, though. And my ears won’t stop ringing – I’ve been to nine shows in the last seven days. Not sure Relax is the way to go right now. Plus, by the time I get over there…”

“So don’t write anything. It’s been a week. No one will care.”

“I’m kind of committed.”

“Sure, now you’re into commitment.”

“Funny.”

“So, how was the show?”

“Oh. Really, really good. Better than San Francisco. Much.”

“Did she do the one about the plane?”

“’Stratford-On-Guy?’ Of course she did. She played all of Exile. That was the point of the show.”

“Gee, I’m so glad I answered the phone.”

“Sorry, I didn’t mean that the way it came out. Anyway, ‘Stratford’ was one of the highlights. That and ‘Divorce Song.’ She did an incredible version of ‘Explain It To Me,’ too. Really moving, like she was contemplating it while she played. Tender.”

“Yeah, I’m pretty familiar with that one.”

“Right… I guess you told me that before, back when…”

(awkward silence)

“Sooo… Did she do the whole fake ‘I’m not prepared for this’ encore she did last time?”

“No, it was sort of cool. I mean, she did some of the same stuff… A couple new ones, which were okay, but then she totally killed it with ‘Supernova’ and finished with ‘Polyester Bride.’”

“Oh, that’s like my favorite!”

“I know, I know. I totally thought of you. That’s sort of why I called. I thought if you were up, maybe…”

“What?”

“You know, I just figured, if you were awake… It’s not that far.”

(more muffled noise)

“Wait, are you… Is there someone there?”

“What? No. That was my cat.”

“Your cat?”

“Look, I’m pretty tired. It was good to hear from you.”

“Well, maybe we could get together this week…”

“Yeah. You know, I’m sort of busy right now…work and stuff.”

“Okay, no, it’s cool. Just, um, when you get some time.”

“I’m glad you went to Liz. I’d be disappointed if you hadn’t.”

“You would have loved it. Listen, I wanted to tell you – ”

“Have a good night.”

“Wait – I wanted to say… I wish things had been different. I’ve been thinking, maybe we could… I miss you, you know? Hello. Hello?”

(dial tone)

Tags: castle magic, ears, Exile In Guyville, gnome, google, iphone, landline, live review, Liz Phair, Los Angeles, Music Zeitgeist, musiczeitgeist.com, photo, seven days, Troubadour, Week of Shows, yawn

October 4, 2008
Week Of Shows, Episode Eight

“Who is this playing?”

I look to see who’s asking.  It’s a police officer – the kind who could snap me in two if so inclined — his huge, dark body barely contained by his deep blue uniform.

“Golgol Bordello,” I reply.

“What?”

Even though we’re standing at the very back of the large crowd gathered at Temple and Main, the volume from the P.A. overwhelms our exchange.

“Golgol Bordello,” I offer again, then gesture toward the stage where said band is issuing a madcap display of gypsy-cum-punk-cum-ska music from their perch, whipping the assembly before them into frenzy – as though that should explain the words coming from my mouth.

He smiles broadly, then makes a little air guitar move before disappearing into the throng with his partner, his step light in time with the music.

That’s the atmosphere at the third Detour Festival, LA Weekly’s gift to Los Angeles and more specifically, downtown L.A. — a part of the city that until recent years was a destination suited best for the adventurous few.

Today however, the crowd is a cross-ethnic mix of young and old, and most appear to be unfamiliar with the unusual single city block setting around City Hall where the festival is situated — it’s hard to walk more than a few feet without nearly bumping into someone sweeping their head back to take in the skyline, as if they’re seeing it for the first time.  And while not exactly a gathering of families, this diverse crowd is friendly and laid back, generally making the whole affair feel something like a kinder, gentler Sunset Junction.  Rain threatens throughout the day, but nothing falls other than a light dusting.  Instead, the mild temperatures and overcast sky make the experience all the more pleasant.

Some criticized this year’s line-up for not having draw-worthy performers in the manner Beck, J.U.S.T.I.C.E. and Bloc Party provided at previous Detour events.  Nonetheless, attendance is comfortably strong, yet void of the irritations typical of an overcrowded festival (i.e. long bathroom lines, an abundance of crowd jostling and the near-impossibility of good sight lines).

And while another common Detour complaint was the fact that alcohol drinkers had to be contained in a cage-like Beer Garden rather than being allowed to wander the festival grounds, the Beer Garden this year is underpopulated, giving credence to the suggestion that people really are here just for the music.

To that end, promoters Goldenvoice have done an admirable job of booking enough pop, rock and dance options to keep festival-goers engaged all day.  With enough overlap between start and end times on each stage, you can literally walk around the block from one show to the next and catch a little bit of everyone’s set.

Shiny Toy Guns does their enjoyable best to manifest their electro-pop as a form of arena rock, while Hercules & The Love Affair provide an upbeat dance party that embodies the festival experience (when their performance is temporarily marred by a loss of power to the main P.A., they continue playing anyway, their on-stage volume enough to keep the crowd going while a solution is found).  One of the more remarkable set-ups is the DJ Stage, which, instead of a standard tent or outdoor platform, is actually the courtyard at the top of the steps of City Hall.  Surrounded by marble and columns, dancers enjoy the unique experience of throwing their moves at City Hall’s entrance.  Probably not what the building designers had in mind at the time of construction, but the effect is stimulating and fun nonetheless.  Cut Copy’s synth-powered dance numbers pick up where Hercules leaves off, while the aforementioned Golgol Bordello plays a marathon two-hour set, easily keeping their audience engaged for the duration with a barrage of dance-friendly, tie-died pop awash in ethnic overtones.  Peanut Butter Wolf presents an entertaining show of video and music mash-ups as people start gathering for The Mars Volta, who take the stage next.  This is where things get a little more familiar.

There’s a crush at the front of the stage as The Mars Volta explodes in a volcanic eruption of Rage Against The Machine-meets-Hendrix and Joplin by way of “Bitches Brew”-era Miles Davis.  The crowd is predictably dominated by white males, many of who have made it their mission to get up front and push each other around and/or get their 1993 on and do some crowd surfing.  “Take care of each other out there,” Cedric Bixler-Zavala, the afro’ed Mars Volta front man asks in a rare break between songs.  “There are only four or five guys in yellow shirts up here and there’s a bunch of you, so you be nice to each other.”  Toward the end of a number I can only assume is named “Sweet-ass Space Odyssey Jam in the key of Rad Major,” Bixler-Zavala uses the lighting grid to hoist himself above the stage, hanging there above his band for a couple of minutes and taking it all in.  Looking out at the mass of people before him against the backdrop of downtown L.A., he must have had quite a view.

Tags: air guitar, black lips, city hall, Cut Copy, detour festival, downtown los angeles, ethnic mix, frenzy, golgol bordello, gypsy, hercules love affair, indie clothing, indy, la weekly, laid back, large crowd, live review, los angeles california, mars attacks, mars volta, mild temperatures, overcast sky, peanut butter wolf, police officer, presets, punk cum, shiny toy guns, single city, sunset junction, throng