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Sufjan Stevens at the Paramount
Sufjan Stevens is the most talented artist of our time. No joke. His performance last night at the Paramount is the factual reference I am using to back up this bold statement. This conceptual genius put on the most amazing display I have ever seen, he appealed to my visual just as much as my aural senses, as well as played with my emotions for the better part of roughly 2- 2.5 hours. I have always been a fan of Stevens way of creating music, his method of creating conceptual pieces off of an aforementioned topic took his music to another level. He creates to conjure up a feeling, a memory, a state, whatever. The Age of ADZ has nestled itself in my heart as perhaps Steven’s magnum opus of conceptual albums. All love stories that take place throughout history and the future. His ideas probably expanded beyond any time-space continuum I could comprehend, but thats okay because anyone can appreciate the theme, love, heartache, and madness.
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For his latest album Stevens drew upon many different sources, from his own heartache (which made this show particularly personal, and quite emotional to watch), to a schizophrenic southern gentleman who painted apocalyptic scenes from different eras from images that would appear to him. Sufjan would create a love-story during the apocalypse of the future and he would do it perfectly. Keeping the entire sold out audience on the edge of their seats the entire time.
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There was so much that went on during his performance that I feel like I will fail miserably trying to explain it all because I will miss some little subtlety that made the show just that much better. The light show which created a 3D effect whenever a mesh screen would come down in front of the band was such a great effect. There was one song of “jumping into the mouth of the volcano” as Stevens would put it, and the screen effects conjured up this rising lava that pushed the feeling of sinking into this epic death, complimenting the arrangement so well.
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The back screen had a range of visuals from a cartoon city being attacked by aliens with t the buildings moving in time with the music to a 80s style dance party where it was clips of what looked like an American Apparel ad girl on dancing on acid- but tastefully. Whenever the dance screen came on I think it was Stevens way of letting the crowd know that they could dance on these songs and it was okay- no judgment.
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Every part of the evening was perfectly orchestrated. Stevens came out and performed Seven Swans first, taking the audience to hell then heaven right from the start. Incorporating spooky Halloween noises throughout. He moved into all new material and told his stories. Towards the end he set the plot of him being a patient and the audience his therapist and he was letting go of all his demons- and it was this stretch of about 4 songs flowing into one another that really showed what a conceptual artist Stevens was. He took the audience threw a tale of heartbreak to madness and I was right there with him understanding and feeling all that he had wanted to convey with his music. The songs ranged from an 80s style rap video dance off with hype girls (with whom Stevens danced out some solid steps) to the mellowest kind of folk that was reminiscent of his style in Seven Swans. Oh yea and that was on the same song- he showed the audience that he could make it grand in two completely different ways. The limits this guy totally expanded last night really blew my mind. I felt like my brain was working out the entire time because of all the senses he engaged in just one show. He kept me enthralled from start to finish.
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After playing all of his new material, Steven said he had one more, throughout the entire show I kept thinking- in the spirit of epic love songs I really hope he plays Casmir Pulaski Day, I mean love doesn’t get any more genuine than that. But he ended on Chicago, and I wasn’t going to complain. A standing ovation ensued and finally Sufjan came back out by himself and walked up to the piano to played Concerning the UFO Sighting just breathtakingly. He was then joined onstage by a few of his band-members and captured my heart when they played Casmir Pulaski Day… perfectly, better than I could have ever imagined. Next he dedicated That Dress Looks Nice On You to one of his trombone/trumpet (I cant remember which) who wore a dress as part of his halloween costume. Just when I thought that was it, Stevens wowed me one more time by playing the most epic song of madness, keeping right in with his theme of the evening, ending with John Wayne Gacy Jr, haunting the crowd one last time.
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By the time I walked to of the beautiful Paramount Theater my head was spinning. I just couldn’t stop thinking about what an amazing show Sufjan Stevens put on. And this might be because I just saw Amadeus recently but I kept making comparisons of Stevens to Mozart- yea I said it- and I’ll back it up. Both of these artists talents being encouraged and nurtured by their [step]fathers from an early age they both have expanded the limits of music of there era. Mozart writing his music for the conceptual themes of operas and even composing his own death. Count Orsini Rosenberg once critiqued Mozart saying his music had too many notes- as though his brain could not process all of the notes that Mozart presented to him. This is exactly the kind of limits that Stevens is pushing today- incorporating new sounds into music making his concert not only about the aural but the visual and the emotional. He is a walking genius and I hope that he gets the kind of recognition he deserves.
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They picture- meh, its from my point of view at the show, and a broken camera- deal with it.
Dungen at Neumos
I roll into Neumos at about the beginning of The Entrance Band’s set. I hadn’t had the opportunity to check this band out prior to the show so you can imagine my surprise when I realized they were pretty stellar. The Entrance Band’s sound was really all over the place. I mean that in the best way possible; there was a minute that I made a Mars Volta reference and the next minute I was thinking of Dick Dale. It was stellar. After actually being able to catch this band in action I knew I had to get some background info. So here is what I uncovered with my super sleuth skills. A wikipedia induced low-down: the band is comprised of Guy Blakeslee, whom was the original solo member going under the moniker The Entrance. Joining him was Derek James- whom I didnt get any lowdown on- and Paz Lenchantin, who has contributed to many albums by many different artists. I particularly appreciated her work on Acid Tongue in 2008 with Jenny Lewis. A few highlights of their set: the songs- well obviously- they were long, they were in depth, they had range. Every song was an elaborate composition that went in and out of so many different sounds. This coupled with the light show was my first introduction to a “psychedelic rock” performance, and I must say it kinda blew my mind.
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So the main event was up next, and Dungen did not disappoint. I gotta say, at first listen I would compare Dungen’s latest album, Skit I allt, to elevator music on steroids. Then seeing them live, it was like elevator music on acid. This, by the way, is supposed to be a compliment. An example: on the second song (I think) Gustav Ejstes busts out a flute! A GD flute man- and it was perfection, Ejstes would jump between the flute and the tambourine then bouncing back behind the keys. This guy was all over the stage wielding one instrument after another. Its a cheesy reference, but Ejstes was like a Swedish Kurt Cobain up there in his flannel with his long blonde hair all passionate. He was quite a show. I really dug the ambient sound that the band had, it had just the perfect hint of psychedelic so I could understand why this band identifies with the genre. But I kind of felt like they expanded beyond all borders. If I had not looked up anything on this band prior to catching them live I would not be able to classify them in any specific genre at all. Dungen is just good.
It was a great show all around. A small but chill crowd and a good sound.
Oh and that photo is from wikipedia, I can’t take cred for that.
Dungen at Neumos
There are three things that I really like, among others. 1. Psychedelic rock. Its got that twang situation, I cant help it. 2. The Swedish. I have never met an unattractive Swede. Not one. 3. Combinations.
So when you combine some Swedish gents with Psychedelic rock you have won my heart. Dungen will be at Neumos on Sunday, Oct 3. And it is a combination situation that I am thrilled to check out.
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What: Dungen
Where: Neumos
When: Sunday, October 3 @ 8
How: $12 adv, 21+
Klaxons at Chop Suey
The British gents that form the Klaxons are coming through Seattle in October. They will be playing with Baby Monster at Chop Suey.
This is exciting, as their new album, Surfing the Void, came out about mid-August and is being released digitally on September 21. Holla atcha i-tunes. Let me tell you about my anticipation for hearing this album, when talking of their influences for this latest album Simon Taylor suggests that they are drawing from many different genres, including dub-step, dance, and folk-music. I mean, c’mon, if that doesn’t spark your interest I don’t know what will.
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What: Klaxons w/ Baby Monster
Where: Chop Suey
How: $15 adv, all ages
When: Tuesday, Oct. 5, doors @ 8
Tallest Man On Earth Blows Minds
Last night man, whew. The Tallest Man on Earth was… Epic. No, monumental, heroic…Im done with the synonyms. Tallest Man on Earth at Neumos, last night, was a killer show.
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So I roll up at just about the beginning of S. Carey’s set and they are blowing the crowd away. This guy is carting on tour with him about three dudes, a gigantic bass, a huge xylophone, a few keyboards, among many other, more portable, instruments. His sound is amazing, there was one particularly memorable moment in the song Action, where Carey was just wailing violently on what looked like a side drum, and…whew… it was just mind-blowing. Carey had the ability to draw the crowd and keep them enraptured on one song (particularly on Mothers, check that business out) then let them go with a slower ballad. It was like this crazy orchestrated mood swing. But they were good, and even on the slower numbers where the fickle crowd would wane and the chatter got louder I was completely enthralled (dreaming of a pair of headphones). S. Carey certainly proved himself as a musician to pay attention to. Between his stellar live performance and his moving compositions he definitely opened my eyes and made me pay attention. He also captured the attention of Kristian Mattson, who snuck up in the corner to admire S.Carey during his set.
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So S. Carey finish and the excitement at the sold out Neumos is palpable. Once all the gigantic instruments were towed away, a chair was set in the middle of the stage with an arrangement of guitars close by and a microphone. Then strolls up Tallest Man on Earth’s Kristian Matsson in his tight jeans and adorableness and he just snapped that excited tension in half by opening his mouth. Each song one right after the other played with so much passion and fervency it was impossible not to be entranced by this guy! He would stop and mumble to the crowd – which gave me my only Dylan reference of the night, because I could not understand a damn word he was saying when he talked. But when he sang, psh, give me a break, when he sang it was like the universe opened up and swallowed itself… That beautiful. He started a dance hall on King of Spain, he brought tears on Love is All, there was a sing-a-long on The Gardener, and he wowed with his “never before played live or released, I have to practice really quick, so don’t clap yet” song.
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From what I could understand during his chat sesh, this was TMOE’s third time playing in Seattle and he was stoked because he did not bust a string yet. He had mentioned something about being super jet lagged, though it did not show in his performance because he kept telling the crowd “two more then thats it” and about six more later he meant it. Through every single song there was a level of showmanship that affirmed his greatness and dedication. The crowd was just loving him, and he was just feeding off the amazing energy of the crowd. During his performance I had that epiphany that this was the show, you know THE show that all of those in attendance will remember because it was perfectly intimate and there won’t be another like it. TMOE is going to get huge, his talent is undeniable and he has that lovable persona that belongs to a man devoted to his craft. I’m going to always remember last night’s show, thats for damn sure, its going down in the diary. Huge props to Neumos for getting him in right now, and for that sound! God damn! Way to go Neumos that sound was perfection.
Netherfriends at the JewelBox
Check out Netherfriends at the JewelBox this Sunday. I have reasons for this demand/request/recommendation:
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1. I have heard from a reliable source that the Netherfriends is quite the live show. (The source also caught a show in which the Netherfriends was just Shawn Rosenblatt solo, using some mad looping skillz, where as word on the street is this time around there will be a drummer… intriguing- no?)
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2. I have yet to catch a show at the Jewelbox but it looks like a spectacular venue. All swanky and intimate.
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3. Its Sunday night, there is not much going on to occupy time.
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Do it.
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What: Netherfriends, with The Webelos
Where: JewelBox, Rendezvous
When: Sunday, Sept 9 @ 10
How: not quite sure yet- I’ll get back to you on the dough-factor.
Tallest Man on Earth Coming To Neumos
Holla! Tallest Man on Earth is playing Neumos in September. Anyone who has ever had an inkling of affection towards Bob Dylan will have a love affair with TMOE. Even I, an individual that appreciates Dylan but never was really all that devoted, has found a warm spot for TMOE. I am very excited to catch him live.
Who: Tallest Man on Earth
When: Thursday, September 9 @ 8pm
Where: Neumos
How: $15 adv, 21+
Why: Good music from a dreamy guy.
Autolux Rocked Neumos Saturday
I caught Autolux at Neumos on Saturday with openers Mongrel Blood and This Will Destroy You. Mongrel Blood was up first and their set was… alright. They started out a little sloppy and… well, basically this seemed to be their style. I am not one to rag on a band or their live show, but Mongrel Blood just wasn’t my cup of tea. Here is how it goes: Mongrel Blood is Cameron Elliot, Eric Fisher, and Spencer Moody (of Murder City Devils fame). So they are just a couple of buds from Seattle out to make some messy music. And for that one and only promise they did great. They were just kinda up there making a party and having some fun. I wasn’t really feeling the feedback situation but I was feeling the guys thanking the crowd by saying “thanks for coming early to see a couple of assholes.” That was just a classic line. If you are a fan of the style of this band I would recommend you checking them out in action at the Carousel Festival on August 29.
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Next up was This Will Destroy You, and holding true to the name, they kinda did… destroy me, that is. I didn’t look into this band before rolling out to the show and I was pleasantly surprised by this Texas band’s ability to produce some stellar ambient music. It was a good mix of pretty rough rock and some super chill melodies. I liked the variety. There was not one word uttered by any of the band members until finally you hear a voice about 45 minutes into the set say that the next song would be their last. It was kind of like a no-bull situation, they were not on stage to make friends just music. They had a stellar sound and a light show that would give a small child a seizure. I was stoked on This Will Destroy You and will likely pick up some of their music.
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Then, about a half past eleven Autolux finally rolls on stage. My initial observation was that this was the smallest crowd I have yet to experience at Neumos, the whole mezzanine was closed. There was a perfect ratio of songs from both of their albums. The crowd seemed to really enjoy the songs from their first release Future Perfect more so than from their latest. It was easy to gauge this by the amount of smart phones lifted to record the earlier songs in particular. There was a lot of dead air, not so efficient instrument changes and moving around, basically just down time where the band was fussing on stage but not uttering a word to the crowd. I thought this was kind of clumsy but then remembered this is just how this band is. They have that awkward stage presence and they don’t really focus on the small talk. I really dug their set though, they did great as far as sound went. I especially appreciated when Carla Azar took to the vocals, her voice was just so enigmatic. The band finished well past the given time of 12:15 then came back on for the encore and played two more. Despite their relatively silent set, Autolux was amazing to catch live. I was glad to see this band early on in their stacked tour. They are due to be on the road roughly a month and are basically playing nightly, it looks like a rough set up.
Ha Ha Tonka's Spectacular Show
So I roll up to the Sunset Tavern right at the start of the Grandtours set. They are already pretty much rocking it hard and I was stoked to see that this Seattle band had some amazing style to back up their sound. The Grandtours set was really amazing, the sound was awesome, it worked really well with the venue. They had some great back and forth with one another as well as the sparse crowd, I think there was a joke made about how they reached the double-digits as far as crowd numbers went. My absolute favorite was that their last song happened to be a killer cover of Bill Withers’ “Ain’t No Sunshine” - blew my mind. Everything worked so well together. Mad props to this band, I checked out their scheduled events and they are playing at the High Dive on the 18th. I definitely recommend checking them out live.
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Next was Chris Mills. I liked Chris Mills, really, he seemed like a great guy that you want to be friends with. He had tons of witty banter with the crowd, talking about how much American Airlines sucked, and his song being used in the TV show Criminal Minds, and how that all goes. When he first rolled up on stage his first words were something cool like: “This is how is all started.” Great guy. It was just Chris and the drummer Gerald, and I have just one complaint about their set and that is that the drumming was just too much. There was only Chris’s guitar to match and it was usually drowned by Gerald’s fervent beating of the drums. From what I was able to catch that wasn’t drowned out by the drums was that Chris’s songs are usually about television shows or some other form of media, that is just classic. I really liked his style and felt a little bummed that I couldn’t focus on much else besides the pounding on my brain.
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Then there was Ha Ha Tonka… and oh man, they were spectacular. The energy, the mix, the vibe… no really, this band was off the chain- amazing. Everything about these guys worked so well. They would mix up the main vocals, sometimes it was Brian Roberts, sometimes it was Brett Anderson (who has the voice of an angel), sometimes it was all four with Lennon Bone getting off the drums to harmonize the situation. And no matter what you could always hear Lucas Long’s low baritone voice coming through- man if this guy could just sing me to sleep nightly, that would be stellar. Keeping true to their Southern style – Springfield, MO that is- these guys just screamed southern gentlemen. So gracious and appreciative of the crowd, Roberts kept thanking everyone- KEXP, the Sunset, the girl in the front whose birthday it was… And the energy was just mind-blowing for the band and the crowd. A regular dance hall erupted on the more upbeat numbers. The crowd and band got especially rowdy for the final song, which the band came back on and played after a particularly calm number, it was a cover of Ram Jam’s Black Betty, and it was perfect. Everyone just got crazy.
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According to Wikipedia, these guys have been playing together since roughly 2003 when they recruited Anderson. And it shows in their live show, they are perfect together, working off of one another with the harmonizing, the riffing, everything. This is definitely one of my favorite live shows thus far of 2010. I got all flustered when Roberts informed the crowd that Ha Ha Tonka would be touring with Rocky Votolato in the fall, the chances of them coming back through Seattle are high and if its true I am stoked-city, and already planning to be there. I would highly recommend catching these guys live.
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Again, my apologies- the pictures are crap, I know, the camera is crap.
Titans of Industry Thursday 8/19
I’m pretty stoked on checking out this band, Titans of Industry, on Thursday, August 19. Their sound on their latest EP, LMNO EP, suggests that they will do great things live and I am counting on that. I also am intrigued by this venue the Mars Bar/ Venus Cafe. Time to check out the sitch.
Who: Titans of Industry, w/ Electric Leaves and The Cat from Hugh
When: Thursday, 8/19 @ 9pm
Where: Mars Bar in Greenlake
How: Im not sure about the cover actually…
