You May Already be Dreaming

You May Already be Dreaming
Neva Dinova
(Saddle Creek, 2008)
Rating: 63%

Saddle Creek’s Neva Dinova open their newest outing, You May Already be Dreaming, with a depressing thought: 'It’s so hard to love your body from the ground.' This kind of sentiment doesn’t really let up. It’s almost as if the band is trying to force their way into the scarred and skeptical Saddle Creek posse, like a high school freshman trying to fit in with his or her senior class peers (though these dudes look older than Conor Oberst).

I don’t know much about alt-country music, but from my understanding, it seems like Neva Dinova do it pretty well. You May Already be Dreaming, fluctuates between slow, brooding, lackluster numbers and straightforward bar rockers. Without question, the dawdling tunes get the point across much better.

It’s a pretty solid album, though, in spite of being quite a snoozer. Nothing really sticks out, aside from the underwater sound trickery on “Squirrels,” but I don’t really hear anything offensive here, nothing really to complain about. Aside from the blatant Band of Horses rip called “Apocalypse.” I forgot about that.

Oh, and as a whole, it's pretty boring.

Field Manual

Field Manual
Chris Walla
(Barsuk, 2008)
Rating: 55%

I like I stated in my very first post, I am a huge Death Cab For Cutie fan. In spite of digging their new record quite a bit, I fear that Atlantic Records may have sucked the life from them. A good argument for this would be DCFC guitarist/producer extraordinaire Chris Walla’s debut solo outing, Field Manual.

I won’t go as far as to say it’s a terrible record. Despite what some other critics have said, it isn’t that much like a Death Cab album. It’s simpler and more straightforward. The lyrics are lacking that lovelorn style that Ben Gibbard embodies, which would be a bonus for some. Instead they take a political turn, making it the least offensive sounding album about politics ever perhaps.

Where Field Manual fails is pretty much everywhere. The songs are nowhere close to being interesting. They could be catchy, if Walla had more of a grasp on the concept of melody. It doesn’t help that his voice just sucks. Bad voice plus boring songs plus unmemorable melodies equals poor pop music output.

I don’t want to admit this, but whether you think Death Cab is boring tripe or not, you will most definitely want to take a pass on Field Manual.

Maps & Atlases - "You and Me and the Mountain"

photo by Ryan Russell

After I went through my ska, pop punk and poppy emo (ala Jimmy Eat World and The Get Up Kids) phases, I loved the shit out of really technical indie/emo type stuff. Mainly Chicago or Chicago-associated bands, like Braid, The Casket Lottery, Owls, American Football etc. By early college I found myself obsessed with clean channeled finger tapping (Minus the Bear), and what I call the waterfall guitar stylings of Cap'n Jazz/Ghosts & Vodka/Owls dude Victor Villareal.

In late 2003 I finally got into pop music, and mostly forgot about all that other stuff. Mostly.

Fast forward to April 2007, when I attended a free music festival put on by Indiana University in Bloomington. I had seen the name Maps & Atlases all over the internets, but had never heard them, and honestly assumed them to be some emo or melodic hardcore band that played in Grand Rapids a lot that I would never give half a shit about. Hoo boy was I wrong. They played as a three-piece (their second guitarist for some reason was unable to make the fest on time) for the first time, unpracticed, and I was shocked at how good they were.

Maps & Atlases play a brand of indie rock that is similar to a chunk of the bands listed above, namely Owls and older Minus the Bear (not that spacey shit). If you like the Chicago indie bands of lore, you should find much to love on their debut EP, Trees, Swallows, Houses.

Luckily for all of us, the band is getting ready to release a new EP, You and Me and the Mountain. It will be released digitally on June 16th. They recently posted the title track from said EP on their MySpace page. The song has all the finger tapping and stops and starts that math rock fans should freak out about. What sets Maps & Atlases apart from their Chicago cohorts, is a somewhat consistent groove (at least on their newer jams), and Dave Davison's unique vocals.

Where the songs on Trees, Swallows, Houses are all over the place and admittedly hard and even frustrating to follow (though still completely bad ass), "You and Me and the Mountain" consists of a pretty straightforward structure and is much subtler. Drummer Erin Elders doesn't dominate the track as much, which is a welcome display of maturity. He still is one of the best drummers I've ever seen/heard.

They have two dates in Michigan coming up this summer. June 19th at Mac's Bar in Lansing with Mewithoutyou and August 6th at The Magic Stick in Detroit with RX Bandits and Portugal, the Man. They will have CD versions of the new EP with limited edition packaging for sale on these tours.

Check their shit out.

Weezer's "Pork and Beans" Video

Today Stereogum (and I'm sure Pitchfork too) posted the official video for the debut single from Weezer's third self-titled album (sixth studio album total), due out June 3rd. Seriously, the song is not half bad, easily the band's best since their 2002 jam "Keep Fishin'" from the not terrible Maladroit. It could have easily fit on that one or the "Green Album," though in my opinion, it's a little better.

The video is hilarious. Perhaps that's because I have a love/hate relationship with idiot non-celebrities (Kevin Federline, Tay Zonday, et al). At least Weezer is back to being funny, in spite of Rivers Cuomo's never ending descent into irrelevance.

Anyway, here it is:

5/18/08 - Anathallo/Dosh/Friendly Foes

photo by Ed Knight

Anathallo/Dosh/Friendly Foes
May 18th, 2008
The Pike Room
Pontiac, MI

This past Sunday night I found myself in a packed room at the Pike Room in Pontiac with some buds mentioned two posts down. In spite of the inconvenient location, I would not miss Anathallo in town on a night when I didn't have to work until 11:00 the next morning.


photo by Phil Southern

To be honest, I haven't been able to get entirely into Friendly Foes just yet. They're a fine rock 'n' roll band who wear their influences on their sleeves (Superchunk, Spoon, The Promise Ring maybe?), and I'm totally into that. I just don't know. Listening to their tunes on MySpace though, I totally dig, so maybe I just don't get into actual rock bands live? Whatever. I'll stop digging this hole to say that they opened the night with a fury, and it was probably the best set I've seen them play.


photo by Phil Southern

Dosh's set was SICK. A couple weeks before the show I had been made aware that he is Andrew Bird's drummer and that his organic meets electronic sound is totally sweet. Even though I couldn't see worth balls, it was cool to hear and imagine how one would flesh out such complex arrangements live. Throughout each song he would move betwixt instruments such as synths, electric piano, and of course, a drum kit, looping certain parts so he could move onto the next. Also, his tenor sax slingin' friend seemed to be an improv master.


photo by Ed Knight

I haven't been going to as many shows lately, including local ones, which I've been attending pretty much exclusively for the past year or so. I think it's because I don't get too excited about live music these days. However, without fail, every time I go to see Anathallo, the anticipation is high. And they never disappoint.

I'm glad they've taken to playing longer sets. A half hour Anathallo set is like listening to half of Pink Moon. Thankfully they've finally realized this.

So anways, yeah, the band was tight. Opening and closing with new jams from their upcoming record Canopy Glow ("Italo" and "Noni's Field" respectively), their set played out like your favorite rollercoaster ride. Mystery and intrigue at the beginning and end, and somewhere in the middle too, and familiarity everywhere else. That was a terrible analogy. I don't ride rollercoasters, so I don't really know how they go.

Of course, some of Floating World was performed, predictably the crowd favorites. Fortunately they never really get old, especially "Dokkoise House." Another new jam was played amidst all of this, "John J. Audubon," which features some beautiful, jazzy ivory tickling and some dynamic (and not to mention insane) drumming from my boy Jeremiah Johnson. He told me to check out YouTube videos (like this one) of this jazz drummer Bill Stewart, which make me just want to give up.

For the first time ever, the highlight of the set for me was "A Holiday at the Sea" from their old school EP of the same name. I like their old material for sure, though it is dated, but they are obviously getting better with time, and I've been anxious to see more of these new songs live. For a while now they've been supplementing the song with a semi-cover during the extended ending, and that's always my favorite part. This particular night, for some reason, it just hit me a little harder.

All in all Sunday was a great night with a diverse selection of music. That is my favorite style of concert.

33 1/3 - #18: Exile on Main St.

33 1/3 - #18
The Rolling Stones' Exile on Main St.
by Bill Janovitz

The concept behind the 33 1/3 book series is totally sweet. Choose a music critic, a professor at a school with a prestigious music program, or a hip and popular songwriter and have them write a 100 page book about a seminal pop or rock 'n' roll album. 57 have been published since its inception in October of 2003. I have read seven in the series so far, and they vary in quality (though not by much) and appeal. My favs so far have been the books on The Beach Boys' Pet Sounds, Joy Division's Unknown Pleasures and Pixies' Doolittle.

Just the other day I finished up the 18th book in the series, The Rolling Stones' Exile on Main St., written by Bill Janovitz. I don't know where it ranks in most critics' all time lists, but this guy argues that Exile... is the greatest rock album ever. It most definitely is not atop my list of favorites, I haven't even spent a ton of time with it. However, Janovitz almost had me convinced there for a minute.

Exile on Main St. is without question a great rock record though, and the accompanying book indulges in its history and mythology. In spite of some drama, like Mick lyrically confronting Keith Richards about his lifestyle and Keith's insane sleeping and recording habits, it seems like the recording process went considerably smoothly. A bunch of dudes, hanging out in the basement of a giant mansion in France, drinking, drugging and recording some jammin' tunes.

The most interesting description of the process is how it seems like everyone was in the same room when recording, and nobody cared. You can hear all sorts of background noise: talking, tapping, clanking, hooting, etc. Sloppy business. Sounds like fun. Something else new that I learned is that Keith Richards doesn't solo. Surprised me.

As small of a book as it is (160-some pages), it is vast in its display of knowledge and imagery of the recording of my favorite Stones record. If you like the Stones, read it. If you like reading about rock music, check out the entire series. It really is a great thing.

Javelins May Tour

photo by Jon Shaft

My good buds in the band Javelins are heading out for a quick jaunt through the midwest and a bit east starting Friday. It seems a bit early in my bloglife for me to post news or tour dates, but I told myself if I actually was going to do this, it would be all or nothing. If you haven't heard Javelins yet, check that shit out on their MySpace. Be sure to listen to "Out On the Sand," the lead-off single from their upcoming full length Heavy Meadows, which if my memory serves me correctly, should see release through Suburban Sprawl Music on July 1st. Maybe? Either way, the record is awesome. Possibly my favorite of the year thus far?

Anyway, here are the dates. If you happen to be some random person reading this and are in one of the towns they are hitting up, do yourself a favor and go.

5/23 - New York, NY @ Pianos w/ Rahim, Call Me Lightning
5/24 - Washington DC @ DC9
5/25 - Johnstown, PA @ 709 Railroad St.
5/27 - Pittsburgh, PA @ Howler's Coyote Cafe
5/28 - Bloomington, IN @ 616 N. Washington w/ Push-Pull
5/29 - Milwaukee, WI @ Stonefly Brewery w/ The Silent Years
5/31 - Chicago, IL @ Beat Kitchen w/ The Silent Years, Bob Nanna, Nouns
6/1 - Grand Rapids, MI @ The DAAC w/ The Silent Years

As you can see, three of the dates are with Detroit's The Silent Years, who are one of the more original pop acts around these days. Ryan Clancy on the drums, hoo boy.

Good luck to you boys. Be safe.

Narrow Stairs

Narrow Stairs
Death Cab for Cutie
(Atlantic, 2008)
Rating: 78%

This is like, blaspheme these days, but I don't care. I'll say it: I'm a big Death Cab for Cutie fan. And you know what? As skeptical as I was of the record, Narrow Stairs, their sixth full length, is solid. Sure, I have some complaints. Yes, the band has dived even deeper into radio-ready arena pop. Also, these are Ben Gibbard's least memorable melodies and weakest lyrics by far. I don't even know what he's doing with his voice these days (what is this... vibrato?). But, for some reason I can see past all this.

Admittedly, my dudes freaked me out a bit when they released the eight minute wank-fest "I Will Possess Your Heart" as the lead single. "Oooh... daring." Sure. It's also completely boring. I won't argue that it works okay in the context of the record, but it is easily and thankfully the worst song.

After five albums in a row with strong opening tracks, "Bixby Canyon Bridge" is kind of a disappointment. It's not a bad song, just sort of corny sounding until you get to the badass outro. Then, if you can get past that wank-fest I mentioned earlier, you're in the clear. "No Sunlight" is a great pop tune which is sure to be the next single and "Cath," easily the jam of the album, sounds like old Built to Spill and Sunny Day Real Estate.

Narrow Stairs then slows a bit with "Talking Bird" (which is only an ok song) and the Brian Wilson ode "You Can Do Better Than Me." "Grapevine Fires" is fine though it sounds like a cheesy adult contemporary tune.

Sounding just slightly like a subtle version of The Photo Album's "Coney Island," "Your New Twin Sized Bed" leads us into the home stretch, aka the best section of the record. "Long Division" is a rocker that isn't too unlike Jimmy Eat World. The beginning of "Pity and Fear," the second attempt at doing something "really experimental" on the album, reminds me of a track from Sunny Day's The Rising Tide, and then builds to those spacey emo guitar octaves I used to love ten years ago. Closing everything out, "The Ice is Getting Thinner" is the only song here that sounds like classic Death Cab. It could easily have fit on the Stability EP.

To summarize, Narrow Stairs sort of has the combined feeling of Jimmy Eat World's Bleed American and Sunny Day Real Estate's The Rising Tide, leaning a little more towards the Jimmy. Sounds like a pretty mediocre record, right?

Wrong. What makes Narrow Stairs actually good is a combination of two things, the first being diversity. I will say that not one song on here sounds anything like the next. Yes these songs are so blatantly pop, and not anywhere near as experimental as Chris Walla and MTV led you to believe. But, I will still argue that they are original, they present variety, and most of them are at least decent. Secondly, with the exception of the vocals and lyrics, everything is in sync. There are songs that stick out as better than others, but within each song, everything fits in its place perfectly. Even in the not-so-good songs. There isn't a part, whether it be an instrument or section of a song, that sticks out as memorable. It all meshes together to create one cohesive good thing, or eight fine songs, one somewhat good opener, and two pretty mediocre snoozers.

When it comes to Death Cab for Cutie, I'll take what I can get. I am in no way offended by the album. Bonus that it is significantly better than I was expecting.