• Review: Patrick Watson – Adventures In Your Own Backyard (2012)

    While listening to Patrick Watson‘s newest album, Adventures In Your Own Backyard, I thought something sounded familiar. Snippets of songs were reminding me of the music from a Spaghetti Western movie – the sub-genre of 1960s Italian-produced western films with their own distinctive musical style. Lo and behold, reading Watson’s statement on the album on his website, he lists Ennio Morricone, king of the Spaghetti Western score as an influence for the album.

    But if that makes you think this album will make you want to saddle up your horse and dig up some gold, you’re wrong. Watson’s tributes to Morricone are subtle. Here and there a touch of horn section brings the impression of what we’ve come to expect from a movie set in the old west, added as a seamless bonus to Watson’s dreamy style. Take, for example, the trumpet solo about two thirds of the way into “Lighthouse.” Or the title track, which features more of that same horn sound, with an added backbeat that also echos the genre. Or “The Things You Do,” an instrumental track with a spooky and melancholy feel sounds like it should be part of a movie score, any movie with the right mood, really.

    What Watson and his Montreal-based band manage to do, like the best movie soundtracks, is capture a sense of mood and space through sound. Sure, there’s no screen to watch here, but the instrumental parts of the  songs, combined with Watson’s lyrics paint distinct scenes that anyone half-listening would be hard pressed not to imagine.

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  • Review: Santigold – Master Of My Make-Believe (2012)

    Reinforcing our reach in Los Angeles comes our latest contributor Suisa! Rooted in the alternative realm thanks to the likes of Smashing Pumpkins, Weezer and Rage Against the Machine, Suisa lends her pen to join Mezzic contributing album reviews and concert coverage. Welcome to Mezzic, Suisa!

    Yes, it’s been four years since her last album, but Santigold  (real name, Santi White) hasn’t been on vacation. She has collaborated with numerous artists since her spectacular debut in 2008. This includes Kanye West, Julian Casablancas, Pharrell Williams, Lykke Li, Sam Endicott, the Beastie Boys, and M.I.A, to whom she is frequently compared. White has acknowledged the comparison between her and M.I.A., and stated that it was due to both women’s eclectic influences. This is definitely apparent in Master Of My Make-Believe. While her style is still the same, she seems to have gained confidence and branched out a little more. Her new album seems to glide from one track to another with much more ease than her last, with each song just as good as the previous one. This shows how much she has grown from “Santogold” which, while being an absolute success, was a little more inconsistent.
     Santigold didn’t start out as a musician. Originally, as a music major from Wesleyan University, she worked a bit further up in the industry as a writer and not a performer. She grew up listening to reggae and jazz, and on top of that, it didn’t surprise me to learn that she studied Cuban and West African traditional drumming while attending Wesleyan. Songs like, GO!, Fame, Freak Like Me, and This Isn’t Our Parade have a distinct traditional sound to them. She has said that a lot of how she writes music is based on rhythm, and that she is very interested in how the bass and drums interact. All of this, on top of the experimental music classes she has taken, come together for a very intriguing mix of music.
  • Concert Review + Photography: Brighton, MA at the Beat Kitchen (Chicago, IL)

    Brighton, MA (Chicago, IL)
    May 11th, 2012
    Beat Kitchen in Chicago, IL

    Chicago’s indie-rock band, Brighton, MA is out with a new a EP, Billboard Sun, and last Friday night they showed it off at the Beat Kitchen. The crowd, certainly fans of the band seemed to be afraid of getting close to the stage. They cheered, clapped, and sang along with lead singer, Matt Kerstein; but it seemed like they played the “floor near the front of the stage is made of lava” game. A short, but well played show for Brighton, MA; a band that is so cohesive on stage they could play with blindfolds on, and not miss a beat. Highlights from the show include songs; “White Flag”, the very sexy, “Sweet Delusions”, and “Wake The Dead”. It’s nice to see that although there was not much banter with the crowd, or between the bandmates themselves, that they still have fun on stage. Despite having had their songs in popular television shows such as; Gossip Girl, Castle, and Community these guys are grounded and approachable. After the final song, “Sidewalkin’” lead singer Matt Kerstein just jumped off stage and walked right into the crowd; hugging and high-fiving fans.

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  • Review: Silversun Pickups – Neck of the Woods (2012)

    My first conscious exposure to the shoegaze genre was with Silversun Pickups‘ “Lazy Eye” sometime around early 2007.  More accurately, I probably first heard the shoegaze genre during the advent of my Tooth and Nail Records craze, when I looked into indie group Starflyer 59 (back then, I didn’t realize the style of Jason Martin’s project had a name).  My short music attention span got the better of me and I moved on from Silversun, that is until 2009 when “Panic Switch” began making the rounds at alternative radio.  This single skyrocketed to the top of my iPod playlists, and from this point on the band was forever on my radar.  So, when offered the opportunity to review Neck of the Woods I was thrilled.

    So, how does Neck of the Woods stack up? I’ll say that Silversun Pickups has used this project to simultaneously refine their sound and make it bigger.   I could feel my adrenaline pumping when the ambient notes of radio single “Bloody Mary (Nerve Endings)” first began to flow through my car speakers.  This was brought to a screeching halt when the bare bones singing of Brian Aubert cut short the crescendo with some vague keyboard plinking in the background.  Over time, however, I realized that the counterintuitive technique works for the song.  Counterintuitive doesn’t really describe the rest of the album, but refined and huge certainly do.

    A distinct Radiohead influence can be heard on the vast majority of the new tunes.  A true Radiohead fan will be familiar with the band’s ability to create minimalist tunes that can just as easily create tension as relaxation.  Opening track “Skin Graph” (yeesh, doesn’t that song title alone make you tense up a little bit?) and “Here We Are (Chancer)” do this quite well.

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  • Concert Review + Photography: Shinedown and Art of Dying at The Myth (Maplewood, MN)

    Art of Dying (Vancouver, BC) and Shinedown (Jacksonville, FL)
    May 15th, 2012
    The Myth in Maplewood, MN

    Shinedown delivered one hell of a show in Maplewood on Tuesday night.

    I’ve been listening to Shinedown for a number of years now, but at some point I lost them in the shuffle of the piles of new music. With the release of Amaryllismy attention was once again grabbed and brought back in by many strong tracks including “Bully” and “I’ll Follow You”. With this renewed attention on the band, I was eager to finally see them live along with Canadian rockers Art of Dying.

    Art of Dying kicked off the night

    Art of Dying is a band I am really not familiar with, but with being an opener for the well-known band, Shinedown, their lesser known status could change soon. They put on a pretty solid show, certainly very mobile on stage and were a hard rock outfit, but not as hard as I would have thought with the name. AoD broke into their second big song “Sorry“; first appearing to be “Die Trying“; and changed things up a bit before one more hard rock song for the road. And by road, I mean they went back to their mercy booth and visited with people.

    Eric all up in my glass. Always so appreciated!

    Shinedown wasted no time with getting the party started again, bursting out of the gates with “Sound of Madness” and “Diamond Eyes Diamond Eyes (Boom-Lay Boom-Lay Boom)” from The Expendables soundtrack and the new song “Enemies”. Nothing makes me happier than the first three songs of a set being loud, fast, and light-filled extravaganzas and that is exactly what I got.

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  • Photography: Campfire OK at the Doug Fir (Portland, OR)

    The Hague (Portland, OR), Campfire OK (Seattle, WA), The Lonely Forest (Anacortes, WA)
    May 9, 2012
    The Doug Fir Lounge in Portland, OR

    Gallery: The Hague
    Gallery: Campfire OK
    Gallery: The Lonely Forest

    Last Wednesday Campfire OK played the Doug Fir with local Portland band The Hague and The Lonely Forest from Washington.  I had been wanting to see Campfire OK since I got my hands on their album, Strange Like We Are early last year (an album you need if you don’t own it already).  I actually put it on my list of things I wanted to do in 2012.  What, some people make lists okay?  It feels pretty good to cross things off of it.  Anyway, to put it simply Campfire Ok are more than just “OK”-they’re fantastic.  They started playing to a small crowd of folks who had dispersed after The Hague.  By the time they were done the floor was full.  If the music itself (piano, synths, banjos, horns, acoustic/electric guitars, percussion, oh my!) doesn’t get you going, Melodie Knight’s constant jumping/dancing into and out of the crowd will.  If that’s still not enough they have frontman Mychal Cohen who is constantly killing it with his excellent vocals, keys, and guitar skills. They also have Andrew Hanigan rounding their sound with a banjo and adding accessory horns to a few of their songs.  Brandon Milner’s percussion is amazing and sets the tone for the whole thing.  This is a band that has full knowledge of how important a live show really is and knows how to put on a great one at that.   Their setlist consisted of songs from Strange Like We Are and they treated the crowd to some new songs from their upcoming album.  An album where if everything goes Campfire Ok’s way we’ll see sometime this year according to Mychal.   I was also told that us CA-ian’s might be able to expect Campfire OK in our neck of the woods late this year.  Here’s to keeping our fingers crossed!  But until then those lucky folks up North can keep tabs on their next shows here and the rest of us can keep falling in love with Campfire OK via videos.

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  • Concert Review + Photography: Black Stone Cherry & Chickenfoot at The Brick (Minneapolis, MN)

    Black Stone Cherry (Edmonton, KY) and Chickenfoot
    May 11th, 2012
    The Brick in Minneapolis, MN

    Black Stone Cherry at The Brick

    I was so pumped to read on the good old Facebook News Feed that Black Stone Cherry was coming in concert in just over a week, and I didn’t care who was coming with them, I had to go. When I found out what that Chickenfoot group that they were on tour with was all about, I knew this night was going to be a blast!

    Legendary rockers Sammy Hagar and Michael Anthony

    I have been a fan of Black Stone Cherry (BSC) ever since I saw them on my birthday in 2006 with Black Label Society and Canadian rockers Priestess. Chris Robertson; guitar and lead singer; possesses a soulful, southern voice that has a story telling quality to it. Be it  hard-driving songs like “Devil’s Queen”, “White Trash Millionaire” (off the new album Between the Devil and the Deep Blue Sea) or heartfelt songs such as “In My Blood” or my personal favorite “Things My Father Said“, he has it covered.

    Ben melts faces early into the set.

    Ben Wells on lead guitar is an endless ball of energy. Kicking, head banging, swapping sides of the stage with bass player Jon Lawhon, he is a force that must be seen. Keeping these three together in step is John Fred Young, his ferocious approach to drumming was accentuated by his crazy mane (see below).

    John Fred Young

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  • Concert Review + Photography: Doomtree & Yelawolf at La Cigale (Paris)

    Yelawolf in Paris

    Yelawolf (Gadsden, AL) and Doomtree (Minneapolis, MN)
    May 11th, 2012
    La Cigale in Paris, France

    Gallery: Doomtree and Yelawolf at La Cigale

    Doomtree at La Cigale

    As a Midwesterner who splits time between Chicago, Madison and Minneapolis, learning and anticipating spending a good chunk of the next year in Europe, like many others, instantly calls forth premature nostalgia for all things 3:30 AM diner trips, craft brews (recently Cave à Bulles solved that), free wifi everywhere, and Mexican food (Chipotle’s coming to Paris in the next couple weeks). Other things? The Twin Cities’ annual Soundset hip-hop extravaganza in May will be sorely missed, but last night I got a little reconciliation for having to miss the week-long Blowout last December when Doomtree made it happen and continental criss-crossed to Paris’ La Cigale. La Cigale is a highly regarded venue around here with a capacity that tops 1,000 with a balcony, shimmering gold ceiling, and a floor that was actually bumping to so, so much good rap last night.

    Paper Tiger and Lazerbeak of Doomtree

    Twin Cities’ Doomtree is on their first time rolling across European soil and are doing it on the heels of their massive American road trip these past few months in support of No Kings. P.O.S. previously came in 2009, performing the tiny Mains d’Oeuvre in the Paris suburb Saint-Ouen, but it’s been a drought since, which is remarkable given the number of albums they’ve released collectively or individually. “No Way” and “Drumroll” may have took the crowd by surprise to kick things off, mostly because the majority were here for Yelawolf and may not have expected to see five rappers on stage passing le relai from one to the other. Regardless, the floor at La Cigale was throbbing to the point you could’ve been in a rap bouncy castle (betcha didn’t expect that metaphor). Mike Mictlan, although sick, confirmed once more in my opinion that he’s evolved into a force within the group, completely evident on all his contributions on No Kings. He soldiered through the night in sunglasses, starting strong, and keeping up. Nice work. Right after, just like back home and for the Blowouts (annual concerts that take place over a weekend or week at First Avenue & 7th Street Entry in Minneapolis), the lights turned on to Cecil Otter in Paris with a swift transition to Dessa time with “Little Mercy.”

    During Doomtree

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  • Concert Review + Photography: Incubus at the Myth (Maplewood, MN)

    Incubus (Calabasas, CA)
    May 9th, 2012
    Myth Nightclub in Maplewood, MN

    It had been a while since I’ve been to a concert where it’s a one band show, probably was the Rush’s “Snakes and Arrows” tour a number of years back. Fast forward to last night where it was all Incubus, all night… hell yes!

    Incubus

    The feeling in the venue was one of extreme anticipation, evident by the floor of the venue being filled quick and early. Once the lights went down and Brandon Boyd strolled out onto the stage, people were losing their minds like the band had put out amazing music for 20 years and this was their public appearance. Starting out with “Privilege” and diving right into “Megalomaniac,” then jumping to 2011′s If Not Now, When? with “Adolescents.” It was at that point that I proceeded into the photo pit for songs four, five and six.

    Brandon Boyd and his hair

    I must take a moment to point out that the people that work the venue and the security detail at the Myth have been amazing for each show I have been to. Pit detail was conscious of the crowd, but also of the photogs trying to get that certain angle and making it possible by slightly crouching or stepping over for a second. This is very appreciated and should not go without mention.

    Ben Kenney

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  • Review: Bear in Heaven – I Love You, It’s Cool (2012)

    Who is Bear in Heaven? This is a question you had better answer for yourself if you wish to be in tune with the underground music circuit in the next few months. I first got wind of this noise-pop band as what I would call a “RIYL” band (Recommended if you like) after listening to Youth Lagoon. Youth Lagoon is a dream-pop act that would appeal to fans of Bon Iver and Owl City alike, so needless to say, I was intrigued to see what this Bear in Heaven group would sound like. Besides, I had heard they put on engaging performances as well. Memorable, ethereal dream-like performances from a band that sounds like Youth Lagoon? Sign me up!

    Well, does Bear in Heaven sound like Youth Lagoon? Yes and no. The best way to describe them would be as a more accessible Animal Collective. As such, it’s hard to break down the album into a track by track synopsis. Passive listening will not do the band justice. I have seen this theme be echoed in many places throughout my Bear in Heaven due diligence. Even the press release in the album exhorted me to blast the record through my best stereo, lest I miss any “nuance” from the record. Some of the nuances are very abrupt and bold (as on “Space Remains ” or “World of Freakout”) but most are, as the hype might suggest, subtle.The final track “Sweetness and Sickness” is predictably the juggernaut here. The noise in noise-pop is diminished to more of a white-noise-pop rather than a full blown din noise pop.

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