Another album that I listened to in my quest to listen to the critical picks of the ’00’s was The National’s Alligator. Boxer, the album that followed has become my go-to record for listening straight through. I won’t bore you with superlatives, but I will share something interesting that I’ve been mulling over.

It took a while for Boxer to permeate my musical conciousness. I had been a fan of “Fake Empires,” but most of the songs are so low key that all of the careful, subtle details went into the backdoor of my ears without every making themselves obvious. As I began to really hear more of it, I had a hard time figuring out what intangible thing made the production sound so fresh to me. Then it hit me; I was trying to project too much on the music. The reason that it sounded unique is that it is completely transparent, musically honest.

There are no production “tricks,” with the exception of some reverb and limited distortion on the guitars, everything is clean. While it’s not acoustic, there’s nothing that you couldn’t reproduce live. Matt Berninger sounds like he’s singing to you because his voice is not hidden behind layers of post-production. There is nowhere to hide

There is also nothing new in the structures of the songs; we’ve heard them a thousand times in other rock songs. They are so perfectly executed however, that this becomes an asset rather than a liability. This is one of the things that I like most about the album. Recording and musical technology is evolving so fast that it’s refreshing to hear a band that does everything with thoughtful orchestrations, solid songwriting, and supremely perfect execution.

A note on those orchestrations: music technology has lowered the price of recording and releasing music greatly, but has also made big, lush music with large numbers of session players obsolete and economically illogical. One of the great pleasures of the movie Ray were the scenes of big recording sessions (especially “Georgia On My Mind,” with full gospel choir and studio orchestra). I don’t have any information about the cost of this record, but I like that they went after that full, rich sound. Every time I listen to it I hear something new, some instrumental motif or riff that I never picked up on before.

If I had to pick something to single out for praise, I would have to choose Bryan Devendorf’s drumming and their recording engineer’s technique. Throughout the record, the drums sound beautiful. I’ve embedded “Mistaken for Strangers,” but the YouTube compression has killed it. Listen to it from a good quality file, or the CD. You can hear the rattles in the snare drum, the tom toms sound full, and the bass drum has not been overproduced to abstraction; in short, the drums sound like an instrument. It is also a credit to how tight the band is that Devendorf is free to drum interesting, syncopated patterns and not just be a metronome.

“Mistaken For Strangers” isn’t my favorite track on the album, but my heart jumps a little every time I hear the drums come in.

#2.  The National: Boxer (2007)- Hailing from Brooklyn, but originally from Cincinnati, The National developed a strong following over several years with a welcome brand of baroque-styled pop characterized by lead singer Matt Berninger’s deep Leonard Cohen-like vocals.  2005’s Alligator found the band approaching a zenith with their strongest offering yet.  Somehow they managed to up the ante with Boxer. An enduring collection of songs featuring Berninger front and center along with twins Aaron and Bryce Dessner, and brothers Scott and Bryan Devendorf.  The result is one the best collections of music released in the last 15-20 years.  In every aspect, the album is near perfection.  Songwriting? Check.  Production?  Check.  Musicianship? Check.  Vocals? Check.  Drummer Bryan Devendorf’s muscular playing sets the tone alongside skilled guitar parts, horns, strings, and piano among others.  Berninger explores a variety of different themes such as fake people ["Mistaken for Strangers"], two lovers fighting ["Start a War"], and the sheer jubilation of two people hiding out together away from the rest of the world ["Apartment Story"].  I’m not prepared to say that Boxer is the most important album to come out in the last ten years though and that is why it’s not #1.  Still……its by far my favorite.

Faves: Mistaken for Strangers, Slow Show, Apartment Story, Start a War, Guest Room

In the year-end issue of Paste Magazine, Super 45 magazine and The Pop Cop music website, the album was named the best record of 2007. “Mistaken for Strangers” was #92 on Rolling Stone’s list of the 100 Best Songs of 2007.^[6] Popular internet publication Pitchfork Media ranked the album #17 in their annual end of the year “Top 50 Albums of 2007″, as well as on Stylus Magazine’s “Top 50 Albums of 2007″, at #5; they also ranked “Fake Empire” at #7 on their “Top 50 Songs of 2007″. “Boxer” also garnered the #1 position on WOXY.com’s “97 Best of 2007″. Online music magazine Pitchfork placed Boxer at number 110 on their list of top 200 albums of the 2000s.

In this post, I present to you the Indie music scene’s best kept secret: The National. Even if you’re a genre restricted person, give this record a shot, you probably won’t regret it.

Boxer is considerably more reflective, introspective than previous ventures Alligator and Sad Songs for Dity Lovers. The undertones have moved from giving the rat race the finger to accepting the inscrutable nature of society while hustling it for all it’s worth. Matt Berninger’s unique baritone and the emphasized drumming are what make this record; Pitchfork’s review states that Matt’s baritone seems to be casually sparring with the drum work. The National has this uber-masculine feel to it while managing to be mostly mellow and conemplatively poetic.

The album’s interpretations vary from track to track; all of them, individual studies in relationships. But with a key underlying theme that has been ever prevalent in The National’s body of work: the ability to find beauty in the fakeness of society.

I often like to think of Matt Berninger as a closet poet; an artist the depth of whose words seem to become more conspicuous with the number of listens, whose sorrow is controlled to the extent such that it allows him to see the absurdity of society and yet dance to its beat.

(Apartment Story, Slow Show, Ada, Fake Empire,…)

Though the above tracks are highlights, this is not to say that the other tracks are any less superior, the other tracks however are growers that require a couple of listens in isolation to understand the depth of the sorrow and the ambiguity of the lyrics that Matt Berninger delivers with such conviction.

Megaupload Link: http://www.megaupload.com/?d=cr472687

It’s hard for an entire album to grab my attention these days.  We live in a click and download society where entire albums are rarely listened to in whole, never mind purchased legally.  Yet, on occasion, a standout album emerges that is so unique and so captivating that it catches the attention of both casual and avid music fans and demands download.  A band titled The National has done just that, infusing their powerful and oft haunting lyrics with a Springsteen-esque band.  The newest release, titled Boxer satisfies on every track,  balancing the bands desire to write meaningful lyrics with a knack for writing catchy melodies.  The result, one of my favorite alternative albums released in the last few years. I hope you enjoy as much as I have.

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Fake Empire – It’s unbelievable how much I enjoy the emotional lyrics of lead singer Matt Berninger on this track. The lyrics portray America as a “fake empire” of materialism.  Great song, great meaning. A must.

http://listen.grooveshark.com/#/song/Fake_Empire/48028

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Start A War – Just listen to the lyrics. The simple delivery compliments the story-telling of the song.

http://listen.grooveshark.com/#/song/Start_A_War/13271382

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Ada – Featuring Sufjan Stevens, another respected folk artist.

http://listen.grooveshark.com/#/song/Ada/205083

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If you enjoyed the Sufjan Stevens feature on Ada:

Chicago – Sufjan Stevens

- Another masterpiece in the folk-indie genre.

http://listen.grooveshark.com/#/song/Chicago/18651344

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Hope You Enjoy!

Viva La Musica!

A banda foi formada em Cincinnati, Ohio em 1999 e como posso dizer? É um grupo maravilhosamente perfeito. Você pode analisar a evolução da banda ao longo de sua notável discografia tanto em suas melodias como nas letras te chegar ao álbum Boxer, considerado a obra-prima dos cinco integrantes do The National. Formada por Matt Berninger com sua impressionante voz de barítono e os pares de irmãos Aaron e Bryce Dessner e Scott e Bryan Devendorf, ainda conta-se com a ajuda do tecladista Padma Newsome da banda Clogs. The National toca já em grandes festivais e seu som indie complexo se harmoniza com o presente vocal de Matt

É uma excelente banda para se ouvir, principalmente se você partir do álbum Boxer que contém faixas populares como Fake Empire e Apartment Story. Aqui para download o álbum Boxer pelo Mediafire       Download

1 – Fake Empire

Endnu engang gæster New York bandet The National København. Men jeg bliver aldrig træt af deres musik, så selvfølgelig har jeg igen købt mig en billet til tirsdagens koncert, som foregår i Tivolis koncertsal.

Altså er det en sidde-koncert. Men det er også ok, for musikken lægger ikke ligefrem op til, at man hopper op og ned med hænderne over hovedet i 2 timer. Dog kunne jeg eventuelt godt spottes hoppende i sædet med hænderne over hovedet til “Mr. November”.

Forsanger Matt Berninger’s meget dybe stemme giver bandets lyd en meget mørk ‘feel’. Mange synes, at deres musik er for mørk og depressiv, og jeg kan godt se, hvorfor de mener det. Men jeg synes, at deres musik er nuanceret både i tekst og lyd, og DET gør den interessant.

I øvrigt er vi (ikke lige mig dog) danskere og dansk musik eksperter i at frembringe melankolsk, halv-depressiv  musik. Tænk fx på Kashmir og Decorate Decorate – for at tage et af de nyere bands på den danske musikscene.

The National er sindssygt dygtige musikere og bytter gerne instrumenter flere gange i løbet af en koncert. Deres genialitet skinner igennem både i lyden og kompositionen af deres numre som når de brillerer på instrumenterne.

Jeg glæder mig fantastisk meget til koncerten. Det er ved at være et stykke tid siden, de sidst kom med et nyt album, så man håber jo lidt på at få præsenteret et par nye numre.

Koncerten foregår som sagt i Tivolis koncertsal tirsdag den 4. august.

Lyt til musikken her: http://www.myspace.com/thenational

UPDATE TIRSDAG D. 4. AUGUST KL. 23.36.

Er lige kommet hjem efter en helt igennem overfantastisk koncert. Det startede ud lidt pudsigt, da man jo i Tivolis koncertsal sidder ned. Men man var glad for at sidde helt fremme på 8. række og kunne se alt!

Bandet var også i hopla. Matt Berninger var lidt mere autist-agtig end han plejer, men det tror jeg er en god ting. Han talte i hvert fald mere end han har gjort ved de sidste 3 koncerter tilsammen.

Halvvejs inde i koncerten får han sagt noget med, at det føles lidt som om han skal bukke efter hvert nummer (pga. stole-række-salen) og udbryder “It’s freakin’ me out!! – You are more than welcome to stand”. Hvorefter der straks er nogen, som rejser sig og snart står hele salen op og hujer, klapper og pifter. Fedt!

En anden god kommentar fra Berninger: “I just love the interruption of the awkward silence” – og publikum brød ud i piften og kæmpe latter. Ja, Berninger var på toppen i aften.

Der kom et par nye numre fra dem, som var en forsmag på noget meget, meget interessant. På det ene af numrene havde Berninger efterladt sin meget dybe stemme og gået en (eller flere toner) op, hvilket gav nummeret en lidt anden lyd og lovning på måske nye veje fra The National!?

Dette var min 4. koncert med bandet, og jeg fik endnu engang bekræftet hvor sindssygt gode musikere, de alle er. Og de leverede det ene superb nummer efter det andet, som om det var første gang, de spillede det for et publikum.

De spillede ca. 1 time og 40 minutter og andet sidste nummer var Mr. November, hvor Matt Berninger endnu engang lægger hele sin sjæl i nummeret og ender med at hoppe ned fra den forholdsvis lave scene, kravler op på stoleryggene og vandrer derud af, indtil han står midt i salen og ser rundt og op på publikum, mens han skråler “I won’t fuck this over. I’m Mr. November.”

I wholeheartedly recommend you go to Aaron Jentzen’s reverbnation page by clicking here if you love “elegaic baritone” (as his webpage puts it).  He reminds me of everything I love about Nick Cave, Leonard Cohen, and Matt Berninger (lead singer of The National).  And similar as his voice is in general style to these guys’ it’s still got a distinctive spectacularness  that makes him a must-listen in his own right.

His overall sound to my ears is closer to The National than any of the other influences his website cites.  In particular, “Magnetic West’s” crisp acoustic guitar and beautiful cellos (played by Cellofourte) really could have fooled me had you simply told me I was listening to The National.  And if you do not know why that’s a serious compliment to be compared to The National, then quite simply you must not be familiar yet with this album.  And you should really remedy that ignorance of one of the best albums of recent years.

(Full disclosure:  I know Aaron Jentzen.  Fuller disclosure:  I’d just as enthusiastically recommend his music to you if I didn’t.)

LISTEN!

Let’s all ovulate together.

“Big Red Machine”

Matt Berninger, the lead singer of The National doesn’t so much perform on stage, but wanders, stalking the floor with red cup in hand and double-fist grasping the mic to croon when necessary. MN was all about them last night, First Ave was packed and the crowd was studious (one of the better crowds I’ve seen in awhile). I always thought the National’s tales of urban ennui really appealed more to the suburban frat kids playing beer pong in fitted caps, and the crowd last night kinda reminded me of that perfect mix of dudes who quote Rilke and dudes who quote Mraz. I ain’t gonna lie, I haven’t listened to The National for what seems like years, even though I listened to Alligator and Cherry Tree EP nearly every day in the 07 summer when I cleaned middle schools. Backlash has come and gone, most people say they’ve already peaked but I’m still excited as hell to hear what sort of unfiltered gobbledygook will come out of Berninger’s mouth on the next record. I talk shit about modern indie-rock guitar bands more than most nowadays but I have nothing bad to say about this band.

Look for some pictures over at MinnScene in the future. Props to Trent for the hook up.

Pewnego ulewnego i pochmurnego wieczoru Marzena i Andrzej siedzieli w pokoju oglądając M jak Miłość. Gdy akcja serialu przybierała na tempie Marzena wyłącza telewizor argumentując to potrzebą nauki do zbliżającej się sesji. Znużony Andrzej rozpoczyna konwersacje.

-Marzenko pamiętasz taki zajebisty film z lat 80? O takim ogromnym krokodylu, który zjadł limuzynę i jeszcze inne rzeczy jadł.

-Aligator?

-O dokładnie to! Muszę poszukać go na jakimś emulu.

-Mi bardziej słowo Aligator kojarzy się z niedawną płytą The National. Z resztą chyba najlepszą ich płytą.

-Wiesz co, słuchałem ostatnio tej płyty nawet. Powiem ci, że całkiem dobra. Nie jest to mistrzostwo, ale daje radę. Jakiś porządny poziom z pewnością ta płyta prezentuje. A słuchałem jej, bo wiesz odrabiam lekcje zadane przez profesora Rojka.

- Ja bym tak się nie zachwycała Andrzej. Moim zdaniem momentami powiewa nudą na tej płycie. Poza tym drażnią mnie już zespoły, które chcą grać jak mój ukochany Interpol! Paul na pewno jest wkurzony, że go wszyscy chcą imitować.

-Paul raczej nie zastanawia się nad tym. Jeśli nawet tak to moim zdaniem powinien być zadowolony. Jednak nie przesadzałbym z porównaniem do Interpolu. Mi momentami przypominają Wolf Parade, chodź nie do końca. Alligator to mimo wszystko spokojna płyta. Taki “Daughters Of The Soho Riots” to sielanka a la National.

-Mi bardziej chodziło o barwę głosu Matta Berningera…

-A wiesz co się mówi o Banksie?

-to co innego! Pozatym ta sielanka o której mówisz to nie przez cały czas. Abel to energiczny utwór, ale mnie nie przekonywuje.

Najbardziej w tym utworze podoba mi się końcowy motyw z wrzaskami. Nie mówiłem Ci jeszcze tego, ale ja na poważnie wybieram się do Mysłowic. Mam  nadzieję, że pojedziesz ze mną.

-W tamtym roku było zajebiście. Była Menomena i Caribou. Moje ulubione zespoły.

-Zawsze ceniłem Ciebie za twój wyrafinowany gust muzyczny. Co robimy w tym roku?

-Wiesz co… Jak już mówiłam National jest dla mnie wtórny a to jedyny zespół, który znam z tego rocznego line-upu. Chyba sobie odpuszczę. Myślałam raczej o innym festiwalu. Będą porządne, znane zespoły.

-Na przykład?

-Kings of Leon! Wiesz jak ich uwielbiam! Na MTV2 puszczają teraz ich nowy teledysk. I tam jest taka scena, gdzie żarówka pęka. Rozumiesz? Ta żarówka już potem nie istnieje. Oni są genialni.

- Nie wiem czy National robi także takie teledyski z wybuchami, ale mi bardziej chodzi o doznania muzyczne niż o ściskanie się z tysiącami indie dzieciaków.

-Ojj jak zwykle marudzisz. Chodź będzie super!

-Nigdy też nie potrafiłem Ci odmówić… ale jak będzie za rok w Mysłowicach Death Cab for Cutie to jedziemy!

Ocena: 7/10

Matt Berninger and The National make some of the best ’stuck in your head, in and out of love, train wreck’ music I’ve ever heard. And I should know, as I have basically mastered the same subject. The lyrics and music have the raw vulnerability of a still open wound, not yet clean. But if you don’t feel like getting too deep with it, their songs can just be a great melody, a hook and a moody soundtrack for a summer night’s ride.

From the Boxer LP:

The National – Green Gloves

The National – Apartment Story

The National – Start A War

From the Alligator LP:

The National – Baby We’ll Be Fine

The National – Daughters of the Soho Riots

The National – Karen

From the Sad Songs for Dirty Lovers LP:

The National – Cardinal Song

The National – 90 Mile Water Wall

The National – Lucky You

And seeing as both Bryce and Aaron Dessner are members of The National as well as pseudo-curators of the excellent Dark Was the Night charity compilation out earlier this year, here’s their contribution to that effort as both audio and visual delights (via Pitchfork.tv):

The National – So Far Around the Bend

]]> http://mikechristie.wordpress.com/2009/02/12/the-national/ Thu, 12 Feb 2009 15:14:42 +0000 Mike Christie http://mikechristie.wordpress.com/2009/02/12/the-national/

My #2 favourite band of the last 2 years (after the clear mammalian granola cruncher victors).  Just found out yesterday they are coming to Montreal in May! They’re doing a small spring tour, Montreal and Toronto are lucking out.  2007’s Boxer is one of the best records of the past 5 years.  They have found a unique way to tell rock stories, mainly through bari vocalist Matt Berninger.

The songs are romantic, direct, intelligent, dark with pretty/simple melodies.  The melodies are so understated that you drive by them at first, but they stay on your block, and they stay like Crips and Bloods.   Virtuosic (yet understated) drumming, great New Yorkish darkguitars, truly provocative lyrics. They ooze B&W.

I feel like Boxer explores themes of self-deprecation, apprehensive romanticism, and a cold reluctance to settle into warmly waded status quo.  And isn’t that most of us urban 20 somethings in a nutshell?  Even better, they don’t make it sound cliché, at all.  The ubiquitous term for this music has been chronically documented as “grower”.  You won’t love these songs on first chomp, but trust you will swallow something sublime.  Promise.

If you’re interested, here are some videos.  First is the Interpol inspired “Mistaken for Strangers”.

Supplementary single “Apartment Story”.

Lots more where that came from.

05-21 Toronto, Ontario – Kool Haus
05-22 Montreal, Quebec – Metropolis
05-23 Boston, MA – House of Blues
05-24 Washington, DC – 9:30 Club
05-25 Washington, DC – 9:30 Club
05-27 Atlanta, GA – Variety Playhouse
05-28 Raleigh, NC – Maymendi Concert Hall
05-29 Philadelphia, PA – Electric Factory

I first heard The National in The Cellar, my undergrad university’s on-campus bar. I was having a beer there with my friend Heaps, and this song came on. She has some fancy phone where you can play music to the phone, and it can tell you what the song is. (And this was BEFORE the iPhone could do that, I’ll have you know.) The song was “Apartment Story,” and I clearly went home and listened to it on repeat. Be sure to note John Lennon on the drums:

I’ve been listening to some more of The National’s stuff, and I really like all of it. I think it’s because I adore Matt Berninger’s voice. It’s so deliciously deep. Makes me feel like he has a beard, although I’ll settle for the scruff he’s rocking in the video. I’m guessing he could sing some rando song from High School Musical and I’d still be all “ooh, Matt, so scruffy and baritone.” 

Here’s the whole band, just having a cocktail or two at their on-campus bar:

Are you SEEING all that beard-age?

I love music in a way that makes me wish I could express myself through it in some legitimate way. I tried to learn to play the guitar once, but got about as far as “Redemption Song” and then gave up. Maybe I need to try again, or maybe I need to settle for what I have. Which is a great backup singer voice, as long as the music is so loud that you can’t hear me.

[Posted by Mallory]

1. Broken Social Scene: “7/4 ((Shoreline))”

For a pretty steadfast consumer of “indie” music, I really took my sweet time coming around on BSS. Part of the problem is the inherent flaws of this age of digital music consumption; my first impressions of the collective were colored by the fact that I was trying to gauge whether or not I liked them based on 30-second soundclips, and while this is generally enough time to hear at least one verse, chorus, and a handful of hooks in the average Britney Spears single, regardless of at what point in the song the clip starts at, this model doesn’t really work for a more free-form group of musicians like BSS. So I finally took the opportunity to give whole songs a listen a little over a year ago after being pleasantly surprised by head BSS-er Kevin Drew’s solo album Spirit If… in my local record shop. While roughly 50-70% of the tracks on all BSS albums proper are still a little too meandering and amelodic for my tastes, they do have a handful of gems, including this one.

2. The Jesus & Mary Chain: “Walk And Crawl”

This track is one of the b-sides/rarities recently compiled on the box set The Power of Negative Thinking. Beyond that, there’s not much else to say; it’s a JaMC track. Lots of feedback, a simple, undeniable melody, and some vaguely sinister lyrics about drugs/sex/violence, buzzing by in under three minutes.

3. Wilco: “Pot Kettle Black”

A deep cut from their famously rejected Yankee Hotel Foxtrot album. It’s pretty straightforward, and relatively no-frills…could be justifiably mistaken for a Summerteeth b-side, but with less pristine production. Reminds me of The Cure’s “In-Between Days” for some reason.

4. Kaiser Chiefs: “Everyday I Love You Less and Less”

One of the two strongest tracks off debut disc Employment (the other being “I Predict a Riot”.) Big comparisons made between these guys and Blur when this album came out. I can definitely see the similarity, but this is 100% artifice (not that Blur were particularly “authentic”) and sounds like a deep cut off Parklife or The Great Escape; it’s inherently catchier than anything off of Modern Life is Rubbish, if only because Blur had grown more accomplished at their craft, but still not close to the level of an iconic track like “The Universal” or “Girls & Boys”. As much as I’d like to believe Kaiser Chiefs have a classic album, or even classic single in them, I just don’t feel like they do.

5. The Smiths: “Stretch Out and Wait”

A very flimsy, tossed-off b-side that somehow is still better than 99.999% of anything anyone else has ever produced in pop. It’s a lighthearted exhortation to forget one’s cares, because the end is nigh, but it’s presented in such a sprightly package that it’s hard not to want to hop in a hammock with a cup of tea and wait for the bomb to drop.

6. My Bloody Valentine: “When You Sleep”

Probably the most “accessible” track off of the epic Loveless album. Somewhere, in an alternate universe, this is held in the same regard as “I Want to Hold Your Hand”.

7. The Walkmen: “Long Time Ahead of Us”

This year’s You & Me album was a pleasant surprise. It’s a return to form after the flat and tuneless A Hundred Miles Off. There’s a lot of quaint romanticism on this album, perfectly reflected in the art that graces the sleeve, depicting the false innocence of a by-gone age that we all know was never innocent at all, but that we can’t help but feel wistfully nostalgic for.

8. Husker Du: “Everything Falls Apart”

As much as I love this (and many other) Husker Du songs, all I can hear usually is the lack of discernible low-end. These guys were post-punk White Stripes before the White Stripes even existed, but they actually had a bass player!

9. The Meeting Places: “Turned Over”

One of those perpetually unfashionable “nu-gaze” bands that never seems able to expand their fanbase beyond people waiting around for that Slowdive reunion that will never come. It’s dreamy pop, with lots of layered, effect-laden guitars, but you can actually tell what’s being sung!

10. The National: “Slow Show”

A great song from an album chock full of them. Every time I listen to these guys, all I seem to focus on is the drumming. It’s just so integral to the success of The National’s tunes, not merely setting the pace, but really coloring and adding depth to what are seemingly simple songs. And of course, Matt Berninger’s voice is up there in the phone book pantheon*.

*Meaning, I’d listen to him sing the phone book without complaint. Others include Richard Hawley, Evan Dando, Mark Lanegan.

Fun Fun Fun Fest is ACL’s upstart little brother — and it should always stay that way, no matter how big the acts playing their stages get. And this year, they brought some pretty big acts. The National, Deerhoof, Clap Your Hands Say Yeah, Bad Brains, Dead Milkmen, Atmosphere, Octopus Project, Bishop Allen … this year’s lineup has eclipsed previous years by a mile. 

As a venue, Waterloo Park is a smaller, more rustic version of Zilker, and the organizers have come up with an ingenious way to minimize the wait between sets: Split one big stage into two stages, and have the next band set up during the current band’s performance. Less wait, less walking, and more music? You had me at “Fun Fun Fun.” 

BISHOP ALLEN

I had never heard of Bishop Allen before seeing them live — I even thought that Bishop Allen was the name of the singer (it’s not, it’s Justin Rice — but it’s still confusing, like people who call think Darius Rucker’s name is “Hootie”). I haven’t seen Nick and Norah’s Infinite Playlist yet, despite my affection for Kat Dennings (and Michael Cera … sigh), but apparently Bishop Allen features on the film’s soundtrack and even makes an appearance in the film. Listening to their set, I can see why: with xylophones, ukuleles, and twee, afro-pop influenced rhythms, they’d be the perfect accompaniment to a whimsical journey through New York.

THE OCTOPUS PROJECT

The Octopus Project is an Austin-based instrumental crew, and the hometown band definitely got some love from the hometown audience. They specialize in vocal-less, spacey grooves that aren’t straight up electronica, too weird to be pop, and to square to be hip-hop. If anything, they sound like indie-quirkiness incarnate, down to the matching ties, onstage dancing “ghosts,” and Yvonne Lambert’s haircut. I’m not a big fan of repetitive, occasionally hook-less pop music, but there’s plenty to distract from the occasional lack of melody, and the group obviously knows how to play their instruments and twiddle knobs furiously. They’re blowing up on a national stage, and hopefully the attention gives them a chance to focus their abilities into a sharp, quirky point.

… AND YOU WILL KNOW US BY THE TRAIL OF DEAD

I’ve never been a huge Trail of Dead fan, and I wasn’t really sold on them after seeing them live, so I don’t really have a whole lot to say about these guys other than I find them wholly uninteresting. But they drew a big crowd, and everybody else seemed to be feeling it, so I must conclude that the problem is me. But somehow, I’m totally OK with that.

DEERHOOF

Deerhoof really should have been the headliners, because they completely, utterly destroyed the competition. It wasn’t even close. After a brief soundcheck, phenomenal drummer Greg Saunier (playing an unusual kit made up of a snare drum, large crash with rivets, short bass drum, and enormous, obviously self-created 20-inch hi-hats) kicked off the poppy “Basket Ball Get Your Groove Back” from their newest, Offend Maggie. On the record, that song is kind of annoying. But seeing singer Satomi Matsuzaki dancing around with a huge tiger-head mask kind of makes the whole thing work somehow.

As a group, Deerhoof is unparalleled in their ability to react to one another — all four members are side-by-side at the front of the stage, including Saunier on drums, reinforcing the idea that they are musical equals. Interestingly, both John Dieterich and Ed Rodriguez play the exact same guitar, and the way their lines twist and loop, it’s sometimes tough to tell who is playing what. The music sounded like it came from a huge, electric entity (with a tiny, tiny voice).

I was completely stunned at how good they were, and I need to see them again. I chatted with Rodriguez backstage, and he said they were playing in El Paso the next night. I told him they should come to San Antonio, and he replied that he had some family here. So get on it, music promoters. Deerhoof in 2009!

THE NATIONAL

Nothing was going right for The National at Fun Fun Fun Fest. Atmosphere ran a little long, and their soundcheck ended up going even longer (you know things are dire when you hear stage managers shouting “Do your job!” to sound guys). But the time-crunch didn’t seem to phaze Matt Berninger and his group — they’ve been doing extensive touring in support of their sublime 2007 album, Boxer, and last night was their final show for a while. So they went a little bit nuts.

Ripping through their set (which included “All the Wine,” one of my favorite songs off Alligator!), the band which I’d been describing as being more a “slow burn” live surprised me — they were more like a fuse slowly burning down until the dynamite exploded. By the end of the set, Berninger had thrown 2 drum sticks, 2 timpani mallets, and a mic stand rod at the audience (he faked us out by pretending to launch a guitar as well). As the last show in a long, grueling string of shows, The National earned a little catharsis.

…em Ordem Semi-Cronológica.

Postado por Luis Calil

*Não havia ninguém quando chegamos – nós sendo eu, Didier, Ana Paula e Kain, todos aparentemente fanáticos por The National (eu, é claro, sendo o mais pateticamente fanático – provavelmente de toda a platéia) – o que me fez pensar por alguns instantes que o The National tocaria pra uma platéia de 100 pessoas. Obviamente o número acabou aumentando pra pelo menos umas 600 quando a banda entrou no palco, e não é como se eles nunca tivessem tocado pra menos gente, especialmente considerando que o Brasil é um país tropical subdesenvolvido no qual rock independente não é exatamente um enorme chamativo. Mas mesmo assim, o fã em mim queria que eles recebessem a resposta apropriada ao talento.

*Falando em fãs, percebi que durante a noite, eu tomei várias atitudes cuja natureza tiética (derivado de tiete) não podia estar mais óbvia e clara. A primeira delas foi comprar um botão que estavam vendendo lá, com uma foto do Barack Obama, escrito “Mr. November” embaixo. Eu gosto do Obama, eu gosto da “Mr. November”, a idéia é cômica e pertinente (se há um refrão que eu espero que Barack cante num hipotético show de rock democrata, seria “I won’t fuck us over, I’m Mr. November”), e estava barato. Ainda sim, eu não vou ter muito uso pra esse botão agora.

*Cérebro Eletrônico é medíocre. Entre ela e MGMT, cujo show que eu evitei a assistir por não ter nenhum interesse na banda, acho que ficaria com MGMT. Quando eu perguntei o que Scott Devendorf, o baixista do The National, (que, sim, eu conheci – volto a isso em um momento) o que ele achava da banda brasileira que tocou antes deles, ele disse que só viu a última canção, e que eles pareciam “Ok”. Continuou: “Não é a melhor coisa do mundo, mas…”. Eu disse o equivalente à: “Sim, não perca o seu tempo.” Em seguida, eu recomendei à Scott Los Hermanos e Jorge Ben Jor. Ele disse “Los Hermanos? That’s like ‘The Brothers’, right?”. Eu duvido que ele tenha lembrado de procurar as minhas recomendações, mas eu não vou cobrar isso dele.

*Nossos lugares eram excelentes. Umas duas fileiras atrás do palco, bem no centro.

*O primeiro membro da banda a aparecer no palco, enquanto colocavam os equipamentos em ordem, foi Padme Newsome, o violinista. Foi excitante, e eu fiz questão de apontar para Padme Newsome e dizer às pessoas a minha volta, “Olha lá, é o Padme Newsome”, gerando olhares peculiares. Mas o primeiro momento eletrizante foi a aparição de Aaron Dessner, um dos guitarristas irmãos gêmeos. Eu não sei se há um nome para aquela sensação estranha de ver alguém famoso, que você só conhecia por fotos e vídeos, ao vivo pela primeira vez, mas devia haver, e se eu pudesse escolher o nome, seria algo como “Karputkz”. Eu, é claro, gritei o nome dele, brevemente aterrorizado pela idéia de que eu estava gritando o nome do irmão gêmeo errado (depois eu confirmei que era sim o nome certo). Aaron, obviamente tímido, só deu uma breve olhada na nossa direção, mostrou um sorriso quase imperceptível e continuou regulando o seu equipamento.

*Eu devo mencionar aqui que o Didier teve a idéia simultaneamente horrível e hilária de trazer folhas de papel com nomes de músicas que queríamos ouvir para levantarmos durante o show, com a esperança de que eles atenderiam a pedidos. Nós escolhemos “90 Mile Water Wall”, “Guest Room”, “The Geese of Beverly Road” e “Blank Slate”. Quando o Aaron apareceu para afinar sua guitarra, não fui só eu que gritei. Didier e Kain, cada um com um papel na mão levantado alto, também gritaram o nome dele. Aaron nem notou os “cartazes”, mas eu imagino o que as pessoas ao lado pensaram da gente. “Meu deus, olhem essas tietes patéticas. Trouxeram até cartazes”.

*Foi nesse ponto que ficou claro que nós quatro éramos os maiores fãs da banda no local. Provavelmente. A maioria estava ali para ver MGMT. Um rapaz do nosso lado, colega de faculdade de Kain, comentou que os fãs de MGMT costumavam ser mais jovens que os de The National, e sim, a platéia era predominantemente bem jovem. Havia um rapaz atrás de mim que cantou a maior parte da letra de “Slow Show”, e uma garota do meu lado também parecia estar devidamente empolgada. Mas nós ainda éramos os tietes-mor.

*Depois de tocarem versões excelentes de “Start a War” e “Brainy”, a banda decidiu prestar atenção nos constantes gritos dos quatro jovens na platéia (i.e. nós), dois dos quais seguravam “cartazes” – folhas de papel menores que uma A4. Na verdade, a primeira reação foi a de Matt, que olhou, riu, e seguiu para a próxima música. Depois, eu e Didier conseguimos a atenção do Scott Devendorf, que obviamente é o membro mais atencioso e simpático, enquanto ele tocava. Ele viu os cartazes e também riu. Nenhuma das duas risadas pareceu zombadora; era mais como uma expressão de espanto e admiração que alguém no Brasil teria a cara de pau de pedir pra eles tocarem um lado-B obscuro. Quando, durante um momento silencioso entre músicas, eu, Didier e Kain decidimos, com extrema coragem e nenhuma vergonha na cara, gritar um verso de “Blank Slate” (“I’m gonna tackle young girls off their beautiful bikes”), Matt deu uma risada e nos confrontou. “Gente, eu vi os cartazes, mas se a gente tocasse essas músicas pra vocês agora, nós estragaríamos elas.” Sentindo simultaneamente constrangido e excitado por ter conseguido contato direto, a minha única reação foi falar um “Óóóó” de decepção, que graças a deus foi acompanhado pelos meus companheiros. Ainda sim, eu só posso imaginar o que o resto da platéia devia estar pensando: “Espero que agora esses losers parem de gritar”.

*Mas nós não paramos. Os mini-cartazes voltaram para o bolso, mas nós cantamos e gritamos numa intensidade possivelmente irritante para qualquer pessoa que não estava na nossa sintonia de excitação. Havia momentos onde eu gritava uns “Uuuuhuuuu!” não antes, não depois, mas durante a música, como se eu não pudesse esperar a canção terminar para expressar minha admiração. “Uuuuuhuuuuu!” quando o refrão de “Mr. November” estava chegando. “Uuuuuuhuuuu!” quando o piano da seção final de “Slow Show” começou a tocar. “Uuuuuhuuu!” + pulos não acompanhados por ninguém quando a bateria de “Apartment Story” entrou. Eu estava consciente de quão solitários e pouco apropriados esses “Uuuuhuuus” pareciam, mas não conseguia evitá-los. Ver uma das minhas bandas favoritas ao vivo destravou algo no meu cérebro que costumava filtrar o tipo de comportamento ridículo que eu zombaria em outra pessoa.

*Momentos aleatórios do show: Aaron falou “Obrigado” (em português) algumas vezes; Matt pegou o livro de um cara (ou era uma garota?) e achou que era um presente pra ele, embora eu suspeite que fosse pra ele assiná-lo; Matt acabou fazendo isso, mas antes ele comentou sobre uma foto que achou dentro do livro, do garoto (garota?) quando era bebê: “Uau, você era muito bonito nessa época.” – a platéia riu; uma garota (garoto? Foi a cerveja que causou essa confusão sexual?) ganhou o set list do show; Bryce, o outro guitarrista-irmão gêmeo, deu uma palheta pra alguém na minha frente. Eu queria aquela palheta.

No comecinho desse video dá pra ver ele falando sobre a foto e devolvendo ela, e depois tocando “About Today”:

*Aparentemente não satisfeitos com o show (que foi, na verdade, maravilhoso), nós três (Kain foi pra uma “festinha”) demos a volta por fora do local fechado onde o show estava acontecendo para tentar achar a área dos camarins e conseguir contato ainda-mais-direto com a banda. Se eu fosse o David Foster Wallace, agora eu lhes daria uma descrição detalhada do local, mas eu não tenho a capacidade nem a paciência. Versão resumida: havia um muro de alumínio de uns 2 metros de altura. Do lado de fora do muro estávamos nós e mais ninguém (o show do MGMT ia começar a qualquer momento), e do lado de dentro havia o prédio do show. Chegamos no fundão e vimos que no espaço entre o muro e o prédio havia uma rampinha que levava a uma área aberta no segundo andar do prédio – devia ser próximo ao camarim. Olhando pelas fretas do muro, vimos um espaço com algumas vãs e caminhões, alguns seguranças e mais nada.

*Nós sentamos num banco próximo ao muro e ficamos lá esperando, conversando sobre os melhores momentos do show, ligando para Fabiano Ristow para comparar experiências (ele foi no show do Rio na noite anterior), etc. Um rapaz bem vestido que trabalhava para o festival, provavelmente com pena das nossas pobres almas, se aproximou e disse: “Se vocês querem ver alguma banda, vai ali pra perto do portão que eles vão sair por ali.” Nós seguimos a sua dica como se fossemos detetives que acabaram de encontrar a pista essencial. Quando chegamos no portão (fechado), olhamos por uma fresta e nos deparamos com um segurança, que perguntou o que queríamos. Eu disse: “Aquele cara ali disse que a banda ia passar por aqui quando saísse.” O segurança disse: “Não, aqui só vai passar equipamento. As bandas saem pela lateral.”. Eu olhei pra um, olhei pro outro, e finalmente: “Tá, e agora? Qual dos dois está certo?”. Eles se entreolharam e ficaram calados.

*Uns 20 minutos depois, enquanto eu falava com o Ristow no celular, algo incrível aconteceu: o Matt apareceu na rampinha do segundo andar e parou num lugar que ainda era visível, conversando com uma mulher. Eu e Didier surtamos e gritamos: “Ei Matt! Desce aí! Vem pra cá! Rapidão! Matt!”. Ele olhou, sorriu, deu um tchauzinho e foi embora. Ana Paula comentou que ele tava muito metido a “estrelinha”. Será?

*Bem, o Scott Devendorf não estava. Quando ele apareceu na rampinha, nós gritamos pelo seu nome de forma igualmente patética e histérica, e ele obedeceu nossos pedidos. Demos a volta até o portão do muro e Scott veio para o lado de fora e nos cumprimentou. Após todo mundo mencionar o quão “great” foi o show, nós perguntamos coisas idiotas tipo “O que estão achando do Brasil?”, “E a turnê?”, “Disco novo sai quando?” (resposta pra essa: eles vão voltar pro estúdio em Novembro e desenvolver umas 20 idéias que eles têm). Nos momentos profundamente horríveis quando nós não tínhamos mais o que perguntar, Scott foi gracioso o suficiente pra fingir interesse na gente, perguntar nossos nomes e o que fazemos. Eu por acaso comentei que não morava ali, que tinha viajado de Goiânia só pra ver a banda, o que era parcialmente mentira. Estava subconscientemente tentando ganhar mais simpatia de Scott? Terrível.

*Nós tiramos uma foto com ele na câmera de bosta do celular de Didier. Após umas quatro tentativas falhas de tirar uma foto decente, nós pedimos desculpas pelo incomodo, e Scott disse: “Não faz mal. É uma câmera brasileira complexa.” A quinta tentativa funcionou.

*Logo Padme, o violinista, apareceu numa varanda no segundo andar, logo acima do portão onde nós estávamos. E sim, nós gritamos por Padme, mesmo com o Scott do nosso lado. Quando Padme sinalizou que estava vindo, eu tive um pensamento assustador: nós estamos mal conseguindo lidar com um membro da banda, agora vai ser dois? Fudeu.

*A nossa sorte é que Padme estava bêbado e fala pra caralho. Pra cada pergunta inócua que tínhamos feito a Scott, Padme se jogava numa dissertação desconexa e interessante sobre a natureza da indústria da música. Ele é australiano e é do tipo “artista”, i.e., ele odeia qualquer influência que uma gravadora pode ter, ele odeia o lado de marketing e publicidade (incluindo clipes), ele odeia qualquer coisa que possa causar danos à autenticidade da banda e a sinceridade da música. Dito assim, soa pretensioso, como tipos “artistas” costumam ser, mas Padme falava isso tudo de um jeito agradável que parecia sugerir, “Mas isso é só a minha opinião”. Eu fiz questão de mencionar sua excelente e obscura banda paralela Clogs, que ele lidera em parceria com Bryce Dessner, para ganhar pontos. E eu os ganhei; ele ficou visivelmente agradado por eu ter puxado esse assunto, e mencionou que o próximo disco de Clogs já está pronto, só falta terminar a mixagem, e inclui uma música cantada pelo Matt (informação exclusiva do Discreto Blog?!). Logo em seguida, eu perdi alguns dos pontos supracitados quando mencionei que adorei o primeiro disco deles, Lantern. “Esse foi o nosso QUARTO disco!”, Padme falou inofensivamente indignado. Mas eu não me senti mal; o placar ainda estava ao meu favor, eu acho.

*Depois de pelo menos uns 15 minutos de papo com Padme, eu percebi que Scott ainda estava ali (!), e que Ana ainda estava conversando com ele sozinha (!!). Eu senti pena de ambos, imaginando suas tentativas de manter a conversa andando enquanto. Ela inclusive mencionou depois o quanto ela achou ele tímido.

*Uns 5 minutos depois, os dois se despediram e foram embora, e nós voltamos para o nosso banquinho próximo ao muro, agora mandando mensagens pra pessoas aleatórias nos gabando de nossa importância – agora éramos conhecidos do The National, não só fãs ou tietes.

*Mas a verdadeira natureza tiética do meu relacionamento com a banda ainda estava por vir. Após uns 10 minutos, Matt apareceu novamente na rampinha, agora falando no celular. Concordamos que íamos esperar ele acabar a ligação para voltar a gritar o nome dele (quanta consideração da nossa parte). Ele desceu a rampinha para o térreo e ficou andando pela área de caminhões, e nós o observamos pelas frestas dos muros. (Imagine Matt olhando para tais frestas e vendo cabeças e olhos curiosos aparecendo e desaparecendo como ninjas espiões – imagine você, porque eu não quero sentir essa dor). Depois de algum tempo, Didier anunciou “Olha lá, ele desligou”. Eu: “Grita, grita o nome dele!”. Didier: “Matt! Matt!”. Eu: “Hey, Matt!”. Nesse exato momento, o portão se abriu para permitir a passagem de uma vã, e percebemos que ele estava apenas a uns 5 metros de distância, na nossa frente, agora sem nenhuma barreira. Ele sorriu, confuso, e eu, mais confuso ainda, disse rindo: “Ei, Matt, dá pra vir pra cá?”

*A conversa com o Matt foi a mais curta e a mais vergonhosa. Primeiro porque eu abri o papo dizendo: “Então lembra daqueles caras lá no Rio que tiraram foto com você antes do show?” – “Hmmm, sim, acho que sim” – “Pois é, eles são nossos amigos, e quando eles disseram isso nós ficamos com inveja… Porque nós queríamos também.” Didier e Ana Paula ambos riram, mas Matt ficou com um sorriso constrangido, do tipo “Que latada eu me meti”. Depois de mais perguntas inúteis – ele não teve a chance de conhecer o Brasil ainda, por falta de tempo, caso você tivesse essa curiosidade – eu consegui subir um pouco minha moral fazendo um comentário sarcástico: ele lembrou dos nossos cartazes e repetiu que as músicas que nós pedimos não estavam ensaiadas, e que eles decidiram montar um setlist mais confortável. Eu falei: “Sim, puxando mais pros grandes hits”. Ele riu e disse “O que? Nós não temos hits!”. Esse foi o ponto alto da minha noite.

*Eu comecei a pensar no que Matt poderia estar achando de todo esse nosso comportamento. Nós gritamos seu nome a noite toda, tanto durante o show quanto depois, o forçamos para fora do portão pra conversar e tirar uma foto, fizemos perguntas idiotas e comentários constrangedores, etc. Tenho certeza que ele compreende que a nossa admiração pela banda não é necessariamente fora do que é considerado saudável, mas parte de mim acredita que uma banda sofisticada como o The National deve esperar – e ter – fãs mais sofisticados, que agem de forma menos tiética. Fãs com comentários pertinentes, que estariam mais propensos a pagar um drink pra ele do que posar em fotos. Aliás, eu mesmo achava que seria esse tipo de fã menos histérico e mais considerado quando a hora chegasse. Mas não foi o que aconteceu. Por quê?

*Quando a câmera de Didier falhou mais algumas vezes na nossa foto com o Matt, eu repeti a piada de Scott – “Don’t worry, it’s a complex brazilian camera” – mas Matt não riu. Eu espero que ele não tenha achado que isso foi um comentário sincero.

*Logo depois da nossa foto, o show do MGMT acabou, os fãs começaram a escorrer em direção à área dos camarins, e Matt foi forçado a correr pra dentro do muro para fugir das câmeras. Eu não consigo tirar da minha cabeça o grito que uma garota deu quando reconheceu Matt, e o tchauzinho que ele deu em resposta enquanto o portão fechava. Mal sabe a coitada o que perdeu.

Just some ideas from around the web that have stuck with me lately. Firstly, Faris and Seth share two great reasons why people are better than companies at social media:

1. We’re Nicer. If you want to operate in social media, you have to act socially. Herein lies the problem. Companies are not social. Companies are commercial. They have explicitly commercial objectives… This is possibly why companies find it so hard to act socially and, by extension, in social media. They have to act without any thought to immediate financial return.

2. We’re Faster. It’s hard for big companies (and agencies) to compete with the speed of inspired individuals. It’s hard to be nimble. It’s scary to launch and learn. It takes a lot of constant monitoring and hands on responding.

—-

Next, a USA Today interview with Matt Berninger of The National reminds me of the inspiration in the everyday:

Songs about the working world have made The National big enough that the band no longer needs day jobs. “That camaraderie at the office — talking at the water cooler, going to lunch — I miss that,” Berninger admits. He does think about going back to work, but fleetingly. “Realistically, would I set my alarm, go to the office and prepare for a presentation for clients? But I do freelance design work, and that takes my brain out of the rock-band universe. It will hurt us if we lose touch with who we were…

“Average life is rich with content”.

Hear, hear. This guy agrees, Matt (you might know him from his Chronicles):

que não há perdão possível….

En, goed optreden gehad?

“Een zeer goed zelfs! Wel een stommiteitje begaan. Toen ik het publiek wou doen klappen stond ik met mijn rug naar de drummer, waardoor het ritme van het publiek op den duur volledig naast dat van de drums zat. Probeer dan nog maar eens vlot verder te zingen.”

Zijn jullie op internationale tournee momenteel?

“Ja, we doen nog een paar shows in Engeland en festivals overal in Europa.”

Komen jullie dan ook naar pukkelpop?

“Ik denk het niet… of wacht, misschien wel. Ik heb eerlijk gezegd geen flauw idee (lacht). Ik houd mij daar allemaal niet meer bezig eigenlijk. Op de tourbus zit ik te slapen. Ze maken mij wakker als ik het podium op moet.

Touren is nochtans fantastisch, zeker als er geen vrouw en kinderen thuis op je zitten te wachten. Ik zit ondertussen thuis wel met een vrouw en kind. Nuja, nog niet echt een ‘kind’ eigenlijk. Het moet nog wat groeien. Het is ongeveer zo groot momenteel (toont met hand de grootte van een tennisbal).”

En wat vind je vrouw van dat touren?

“Ze zou natuurlijk graag hebben dat ik wat meer thuis was, maar ze gunt het mij. Zelf is ze schrijfster, en ze vindt het fantastisch dat nu doorgebroken zijn. Als je dit soort kansen krijgt moet je ze gewoon grijpen.”

Touren heeft waarschijnlijk ook het voordeel dat je alles voor jou kan laten doen. Hebben jullie bijvoorbeeld rare requests op jullie rider staan?

“Niet echt, nee. Gewoon een hoop drank, en bananen. Wilco, vrienden van ons, hebben wel een behoorlijk gekke rider. Ze vragen altijd of er voor het optreden een puppy in hun kleedkamer aanwezig kan zijn. Het enthousiasme van dat beestje zou zo ‘kunnen afstralen op de bandleden’. Het is eigenlijk als grap bedoeld, maar er zijn effectief plaatsen waar ze zo’n beestje krijgen (lacht).”

Jullie hebben ondertussen al vier platen uit. Is er een truc om als band na al die tijd nog vlot te blijven samenwerken?

“Dat lukt ons vooral door de manier waarop we onze songs maken. Meestal beginnen we aan een song met allemaal verschillende ideetjes van alle bandleden, die we dan proberen omvormen tot een samenhangend geheel. Dat kan erg moeilijk zijn, maar zo weet je zeker dat je iets unieks aan het maken bent. En achteraf is iedereen blij, omdat we allemaal een belangrijk deel aan de song hebben bijgedragen.

De reden waarom we zo’n succesvolle band zijn is volgens mij ook dat we minstens de helft van de songs die we schrijven gewoon weer weggooien. We kunnen ook een jaar zitten schrijven aan één song, gewoon omdat we weten dat er meer in zit. We moeten soms wel twintig verschillende dingen met een song proberen voor ze eindelijk ‘af’ is.”

Ben je van plan om hier voor de rest van je leven mee door te gaan?

“Als ik die mogelijkheid krijg: zonder twijfel.”

Chris Mansfield of Fences

Meet Chris Mansfield and his solo acoustic project, Fences.  Chris is another singer/songwriter from the greater Northwest area of Seattle (there must be something in that water that breeds these musicians or just a thriving music scene that I wish was here).  The man doesn’t seem to fit the normal mold of the indie scene, as others from that area like David Bazan, Ben Gibbard, or Damien Jurado.  He presents himself with a post-punk image and a voice that at times is reminiscent of Matt Berninger (lead singer of The National).  Basically it comes down to enjoyable minimalistic acoustic songwriting from an unexpected source.  Recommended tracks to check out are “My Girl The Horse” and “The Same Tattoos”.

At last, I’ll leave you with this parting gift.

(My friends in The New Frontiers, you can download the track here.)

p.s.  I’m doing well in school at the moment, if it continues and if I keep my priorities straight.  I might try some shows again in the future.