Notes From Underground

LISA: I can taste summer

Today is Tuesday. 6 days until the last day of class(!!!). 11 days until Bamboozle. 65 days until Warped Tour. There is still time for them to realize MXPX is not on tour yet and that their summer tour ends June 11th so they can totally do Warped Tour. Come on Kevin Lyman, book them.

If I were 21 I would celebrate the last day of class at Angels & Kings, a bar which is going to open up on April 30th....the last day of class.  Why? Because, oddly enough, Pete Wentz and members from Gym Class Heroes, The Academy Is..., and Cobra Starship are the ones running it.  Pete says that he still gets turned down at bars and clubs, and that the VIP section is so small and crowded and the music stinks, so he decided to open his own bar so he and his friends have a place to hang out. That's cool I guess.  He says they won't turn people down at the door because of the way they look (but you DO have to be 21, which will probably keep most of their fans out, which I guess is a good thing if they're just looking for a place to hang out and relax).  The bar opens up 3 blocks from my apartment.

You Can Read About The Bar Here: http://nymag.com/news/intelligencer/30940/

Besides that....

 

This weekend I wrote an 11 page paper on Gym Class Heroes and the hybridization of hip-hop.  Maybe I'll post that next time once I revise it.  Disashi was awesome enough to answer a bunch of questions for me, what a great guy.

I also wrote a 12 page paper on Bill Cosby and his uplift ideology.
And an 11 page paper for this internship.

 

 

 

 

 

....I can't wait until Summer.

But the worst thing about Summer?  I won't be at Fuse anymore :(

-Lisa

John: Patti Smith - Live in NYC

I got the chance to check out Patti Smith last night at the Hiro Ballroom here in NYC. Patti has a new record that comes out on Tuesday called Twelve which is entirely composed of covers of famous/semi-famous rock songs. I’ve seen Patti before- and her original material is riveting live so I was not exactly sure what to expect.

Patti and band opened with a gorgeous accordion driven version of Neil Young’s “Helpless” and moved through an opening set that included a much of the new album including “Soul Kitchen” by the Doors and “Midnight Rider” by the Allman Brothers, the later was introduced by the Longfellow poem “Paul Revere’s Ride”. The first set also included the “bonus track” “Perfect Day” by Lou Reed. Smith joked that had she known she would be required to provide so many additional tracks she would have called the album “ten.” Always a good conversationalist Smith ruminated on the unconscious decision to record so many songs that were released 1976 for the new album, why, well it was good year, she said. Later in the set she qualified the statement by calling 1976 a year when people were doing something- and implored the audience to do something themselves. Smith has always been a semi-political figure- perhaps most visibly of late in her benefits for Ralph Nader’s 2000 presidential campaign.

It was interesting to see which tracks Patti chose to cover in a very straight up manner and those that she chose to change more drastically. Her straight interpretation of the Stones’ “Gimme Shelter”, which she introduced as being in the tradition of great protest songs, was spine tingling. Her re-working of Paul Simon’s “Boy in the Bubble” seemed less effective to me. I guess that’s because I think the amazing thing about Graceland was its creative use of rhythm and melody – personal preference. Smith actually joked about the re-working claiming to have never really liked Simon or his music very much, even going so far as to skip a film that included his music (I assume she is referring to The Graduate). The band closed the opening set with and epic take on Hendrix’s “Are You Experienced?” into Jefferson Airplane’s “White Rabbit”.

The band took a fifteen minute break and returned for a second set whose highlights included R.E.M.’s “Everybody Hurts”, which Patti dedicated to her daughter Jesse, and her Bruce Springsteen collaboration “Because The Night”. Though she did not explicitly state it, the recent tragedy at Virgina Tech seemed to be on Smith’s mind. She talked about the second amendment (the right to bear arms) and the intentions the founding fathers had in mind when they created the bill of rights. She contended that there was a distinction between having a gun in your home for protection and having citizens armed with automatic weapons. The second set also featured an original poem called “Tara” that Patti had written for her sister in law and her daughter. Appropriately Smith closed the second set with a cover song that has truly become her own over the years. Van Morrison’s “Gloria” is the opening track to her 1975 debut Horses. My father claims that anyone can sing “Gloria” and it will still be awesome- but for my money- Patti’s version is the best.

The band returned for a final encore including Stevie Wonder’s “Pastime Paradise” from the wonderful Songs in the Key of Life. It’s the song Coolio ripped off for Gangsta’s Paradise. There was a good moment of levity when Patti revealed her excitement at being asked to narrate a portion of the new Aqua Teen Hunger Force movie. The final bit also included the two strangest covers of the evening. Nirvana’s “Smells Like Teen Spirit”, which Smith admitted the band had not really rehearsed- seemed a bit shakey- with Smith changing/flubbing some of the lyrics- which seemed odd. Perhaps stranger was the closing number Tears for Fears’ “Everybody Wants To Rule The World” a seemingly strange choice for an artist best known for her intellectual take on punk rock. But as Patti explained- you don’t need to sing punk rock songs to be punk. Punk means not giving a fuck what anyone has to say about you. Well said.

Lisa: Warped Tour Warped Panel

Who's stoked for Warped Tour?!?!  I know I am. Partly because I get to work on it!  I am Lisa, and I help run the Warped Panel.  The Warped Panel is a group of warped tour fans, just like you and me, who fill out a few surveys and stuff to collect information about what fans are interested in these days.  This helps Kevin Lyman pick which sponsors he should include on the tour, based on what you guys are interested in.  So basically filling out the survey would make the tour better for you, because it will lead to more of what you want to see!

Also, there is a space to write in which bands you would like to see on tour, so this is your chance to let the people in charge of tour know who YOU want to play!

For the survey to be valid you have to fill out the whole survey thoroughly and honestly.

To sign up go to www.warpedpanel.com

There will be a couple surveys, but so far only the 1st one is up. You'll all get in e-mail when the next one is ready.

So besides seeing cool sponsor booths at tour, why would you want to fill out these awesome surveys?!  Well, because you can win a VIP PASS TO THE WARPED TOUR DATE OF YOUR CHOICE AND I'LL TAKE YOU ON STAGE TO SEE YOUR FAVORITE BAND! Pretty sweet deal, huh?

There are 450 winners total, 10 for each date. 

Friend me on myspace!  www.myspace.com/warpedpanel  and join the facebook group Warped Tour Warped Panel to join in on discussion boards and share pictures and stories with other psyched Warped Tour fans!

It's going to be awesome.

Well, what are you waiting for?! Sign up now!

www.warpedpanel.com
www.myspace.com/warpedpanel
facebook group: Warped Tour Warped Panel
AIM: Warped Panel

Hope to see you this summer!

Love,
Lisa

 

Conrad: Land Of Talk at Alchemize

Alchemize - the name makes the place sound like a dance club - and it is! Or at least it became one late in the evning of March 10, after some good old-fashioned indie rock.

A month ago, I had the good fortune of catching Land Of Talk at Alchemize, a small club in the hipster hood of Northside in Cincinnati. The Montreal trio is led by Elizabeth Powell, whose confident vocals and, especially, angular guitar playing were a perfect compliment to the rhythm section's cutting bass and articulate drumming. The wash of sound was like a mist from which melodies emerged. Cheesy description, I know, but that's what it seemed like.

You can listen to tracks from Land Of Talk's debut EP Applause Cheer Boo Hiss at their MySpace.

Land Of Talk seem to constantly be on the road. If you have an opportunity to experience their strong musicianship and easygoing stage demeanor, do so. Thank you for supporting Canadian rock. Good night.

Conrad: Dr. Dog and O'Death at the Bowery Ballroom

Photo from drdogmusic.com.

Last week I took the opportunity to enjoy an evening of music at the Bowery Ballroom here in New York City. It's my favorite venue in town, and definitely my most-visited. I'm not good with numbers, but I'd say I've been there about five hundred thousand times.

Anyway, the reason for this memorable jaunt was Dr. Dog, a Philly group with their soul in Abbey Road-style sonic and song structure. They're on the tour this month supporting their latest release We All Belong. This was the sixth or seventh time I'd seen them, but the first time catching them since they've graduated to 500 capacity venues. Though I miss the intimacy of seeing the Dog in smaller places, I couldn't argue with the product of the hard touring that got them to this stage - mainly, their amazing chemistry. On recordings, Dr. Dog come off as meticulous craftsmen, arriving at a seemingly lo-fi sound after what is likely many hours of work. Live, they are anything but studious. Whereas the band once seemed tentative onstage, they are now confident, bopping around with a rambunctiousness driven by well-honed chops and stage presence, as well as wonderful material. It ruled.

Openers O'Death proved to be a well-matched fit. Over the course of a 45 minute plus set, the Brooklyn group delivered their (very) unique set of trashy, frenetic bluegrass, tempered with both the humor and pathos of mid-80s Tom Waits (think especially of the dusty liquor bottle, underground roots and washboard feel of Rain Dogs). Comparison and analysis, however, do not convey what it was like to watch a mostly shirtless band, a band featuring a banjo and what appeared to be an oil drum, build tension and anticipation in a manner generally unseen by opening acts. Well done.

Capping the evening in grand style, my pals and I shuffled several blocks east to Pianos for to enjoy a DJ set by indie crooner Baby Dayliner. Also enjoyed? A wide selection of spirits, all consumed rather late in the evening.

Next on Notes From The Underground,  Shirtless Performances: A Debate, and The Next Day: When Not To Wake Up Early.

Conrad: The Forms Live At Asterisk

Going to fancy venues and big shows is cool and everything, but sometimes one has to go to the out of the way places to be reminded of what makes rock n' roll great. So on Friday night I made my way out to the outer reaches of Brooklyn's East Williamsburg, an industrial hood slowly being claimed by musicians, artists and partygoers like me. The reason for my trek was to see The Forms, a New York-based quartet that makes angular and weird, yet melodic indie rock. I'd seen them before but the thought of seeing them play their new material was too much to pass up.

So anyway, the venue. I'm not sure if Asterisk is a completely legal joint, but it was cool; essentially, the place is a house, with two "stages" - read: rooms. Throughout the night several bands played on these two stages. The Forms went on around 1am and I was not disappointed. Their 40 minute set included every screaming guitar, syncopated drumbeat and odd time signature that a post-rock fan could ask for.

Their next album should be out in the summer and was recorded by Steve Albini, the legendary producer who worked on Nirvana's In Utero, to name just one impressive credit. Seriously, check out the Forms.

Conrad: Takka Takka At SXSW, Part 3

Three shows in three days. It can be tiring. And we're not even talking normal set times; our three shows had start times of 1am, 4pm and 230pm. Still, when you're running on adrenaline and tacos, anything is possible. So bleary-eyed and bed-headed, we rose early on Saturday morning to load our gear in at, wait for it, 9am. That's right, the 9 that's in the morning. We drew the first to load in slot. Nice. Luckily for us, the venue was a Cuban restaurant. Of course, this means strong Cuban coffee.

Following an interview, and enjoying some strong, caffeinated brew with the staff and show organizers, we set up. We were ready to soundcheck! Then we were told to break down our gear. OK, cool. Wait - they'd like us to set up again. Hmmm, alright. Ten minutes later, we were told to break down again. Argh. When you're organizing a daylong party with bands on TWO stages, however, a bit of confusion is understandable. Hey, it kept us busy.

And it was all worth it. Following a performance by Ferraby Lionheart and his band, Takka Takka took the stage. Of our three SXSW shows, this was by far the most attended, and the crowd seemed to be comprised of more than a few important types. Fortunately for us, we turned in what we think was one of our best shows ever. Yes! The feeling following a good show is impossible to describe. It's a euphoric, dazed relief. So after an hour of hanging around, catching up with more people and relaxing, it was time for Takka Takka to hit the road. We all had to make it back to New York as quickly as we could, and with a 33 hour drive ahead of us, we decided to put at least a dent into that distance as soon as possible. It was sad to leave Austin as another evening of music was heating up, but the thought of returning next year, and eating migas for four days straight, eased the pain.

Takka Takka hanging with our buds from Toronto, Raising The Fawn: