Posts Tagged ‘Joanna Newsom’
Tuesday, January 5th, 2010
Anyone who reads this blog knows that I like Joanna Newsom, like, a lot, and I missed her tour way back in 2006 because I didn’t think she could possibly sell out the 700ish-capacity Black Cat mainstage. Well, after years of no news, she’s finally up to something, after that teaser of a “secret show” last year. Playing a mini-tour of seven cities in the U.S. this spring, including a date in DC on March 22 at Sixth & I Historic Synagogue. I’m so there. This WILL sell out fast as Newsom’s legend has grown mightily since that last tour, and Sixth & I’s capacity is only a couple hundred more than the Black Cat.
Also, there is yet another Wilco tour, which is hardly news since these guys seem to be practically Jucifer-like in their capacity for living on the road. But, the press release says that the tour will consist of “extended, varied sets exploring material from each of the accomplished Chicago sextet’s seven studio albums.” Since I don’t like the past couple albums very much, this is pretty great news. DC date is at Strathmore on March 30.
Other shows I am really psyched to see this spring: Atomic, Epica, Between the Buried and Me headlining with Cynic supporting. Also very curious to see how the Scion Rock Fest lineup shakes out this year - it’s apparently scheduled for March 13 but I can’t get much in the way of confirmation on that date.
Friday, April 3rd, 2009
The other night I rediscovered an old audience video recording of Joanna Newsom playing live in Philly. I wrote this one up favorably before, but Mike McLatchey does it better at Outer Music Diary. Here’s part of what he said:
…where I was expecting something related to indie rock, I ended up watching a virtuoso harpist and band play a unique blend of folk music, classical sophistication and modern song stylings. Vocally she reminds me quite a bit of a nascent Alanis Morrisette although a Morrisette infected by some old Appalachian folk singer. It’s clear she’s a prodigy and while I was warned about her voice, which must have spawned from the fact she hadn’t started singing until recently, I found her style to be warm and intimate. Her harp playing is another matter, it at least seems masterful, an adjective I’m hesitant to use being that I can count the harpists I know on one hand. But this is skill, just watching her two hands, as independent as a good drummer’s, play counter melodies and rhythms, often changing or doubling tempos within an overall 4 beat itself, was mesmerizing. It’s kind of baffling she has the popularity she does, although her combination of accessible songcraft with virtuoso musicianship is a rare one.
Yes: the joy of this video is getting to see Newsom play harp. Wow. Oh hey, and the torrent is still (barely) alive at Dimeadozen, amazingly enough. Go fetch if you’re a fan, you won’t regret it.
EDIT: Please click through to the comments for a direct download of the video. Thanks to Will Davis!
Tuesday, March 31st, 2009
Joanna Newsom news has been scarce ever since her 2007 EP release; she played a couple isolated shows last year but nothing else. She has no real website and no Myspace page. I’ve been stalking her ever since Ys came out, and have been vaguely worried that she got bored with music or something like that. But there’s great news: she debuted about two hours of new music (!) this past weekend, some of which saw her play piano instead of harp.
It’s always an interesting moment when one of your favorite artists takes to the stage to showcase their next evolution of musical progress. However, from the first pluck of her harp through the last note the performance was nothing short of rapturous. The makeup of her new songs combines the strong melodic presence of songs on the Milk-Eyed Mender with her continued instrumentational prowess and maturation beyond Y’s. It was unclear how many of the songs covered in the course of the two and a half hour set would ever be recorded, but there was never a sour note or “should be cut” moment to be heard. If anything a double album here would make perfect sense, and be one of the most enjoyable albums I’ve heard in ages.
Go read the full article. The sentence “after seeing her new material performed live I think it could easily be her strongest, most enjoyable album to date” also appears. So yeah, Ys might be my favorite album of the decade and I’m kind of uncontrollably excited right now.
Hat tip to the ol’ Pitchfork.
Friday, January 4th, 2008
From a review of Joanna Newsom’s The Milk-Eyed Mender at rateyourmusic: “This sounds the way it feels when you grate your fingers along with the cheese, leaving clots of blood and sliced nuggets of skin on your creamy white pile of mozzarella… Abrasive.”
Yikes! I don’t agree with it, but that’s a pretty awesome, concise review right there.
Sunday, December 9th, 2007
This best of 2006 list was extremely challenging to come up with, if only because I’ve begun listening to new music at an even greater rate, and I just had a lot more to choose from this time around. The list below is one that, perhaps more than any other best-of-year list I’ve done, I feel could be significantly different a year, a month, or even a week from now. That said, I am definitely glad I waited a year to do this one, as I hadn’t even heard 40% of these albums by the end of 2006.
Before we get started, if you’re curious, my best-of lists for 2005, 2004, 2003, 2002, and 2001 are also available on this blog. Now for the main attraction:
- Newsom, Joanna - Ys
Head and shoulders above the rest, Ys could be my favorite album of the decade, not just the year. Newsom’s voice, lyrics, compositions and harp playing are bewitching, and I’ve been listening to Ys regularly for the past year and never get tired of it. I expect this to be a long-lasting classic, and unlike many critics, I don’t use that word lightly.
- Tanakh - Ardent Fevers
I’ve become fairly indifferent to most new indie-rock out there, but this group plays an endlessly interesting meshing of styles that transcends genres. There’s post-rock and ambient music influences as well as straight-ahead melodic songwriting, and there are some wicked scorched-earth guitar solos to boot. Music that’s difficult to describe and pigeonhole is often very appealing to me, and Ardent Fevers is a perfect example.
- Zs - Buck
Perhaps the most interesting avant-rock band operating today, this live album shows the power that a telepathically tight ensemble playing formally composed, wickedly difficult music can have. A must for anyone interested in dissonant, rhythmically complex modern music.
- Decapitated - Organic Hallucinosis
Speaking of rhythmically difficult, this band’s nerdy death metal is occasionally jaw-dropping in its technicality, which makes the recent death of their drummer in a car crash all the more tragic. I was all stoked to see these guys live, but the death of their drummer and hospitalization of their guitarist was too much for the band to handle and they promptly disbanded. One of the saddest stories in music all year (2007, to be clear). RIP Witold “Vitek” Kieltyka.
- NeBeLNeST - ZePTO
I guess I do still like prog. ZePTO is the only original prog album on this top 10 list, though admittedly it’s no namby-pamby symphonic fairy tale. This album sees the French quartet dip into avant-garde waters; their music has always been dark, dissonant and amorphous, but never quite to this extent.
- Univers Zero - Live
Notable for many reasons, not least that it’s the first official live release for this 30-year-old band, but also because the performances are simply top-notch. “Xenantaya” especially absolutely comes alive compared to the studio version, and the inclusion of older pieces like the classic “Toujours Plus à l’Est” is a wonderful surprise.
- Om - Conference of the Birds
There’s only one transcendent song on this album, but then there are only two songs total. The 16-minute “At Giza” is an absolute triumph of repetitive, trancey, spiritual metal, still the best thing this band has ever done. In concert, three separate people exclaimed after this song that it was a “religious experience.” They may be overstating the case, but not by too much.
- Yo La Tengo - I Am Not Afraid of You and I Will Beat Your Ass
Everyone’s favorite noisy indie-rock band gets back to the noise! The opening and closing epics on this album are the classic feedback-drenched workouts that, as much as their poppy vocal numbers, helped give this band their reputation. The best thing they’ve recorded since the glory days in the mid-90s.
- Espers - II
I was a latecomer to this acid-folk group, and this was my introduction to their music. Greg Weeks, formerly of New Sonic Architecture fame, and Meg Baird combine to make some of the most evocatively edgy folk music I’ve heard. Mellow Candle comes to mind; these guys possess an equally formidable melodic sense (and their vocal duets are equally as wonderful), but their vision is way darker.
- Satoko Fujii & Natsuki Tamura - In Krakow In November
I love Fujii’s quartet albums and like her orchestra works, but it’s in a solo and duo setting that, in my opinion, she really shines. Her melodic sensibility is simply beautiful, and that really comes through in this recording with trumpeter/husband Tamura. “Morning Mist” is pure distilled beauty, but the whole record is a delight.
I seem to say this every year, but 2006 was a pretty damn good year. I suspect this will be true for every year as long as I continue keeping up with a wide depth and breadth of new music. Certainly 2007 — in which I bought more albums released this year than ever before — is shaping up to be fantastic. It’s certainly a good time to be a fan of underground, experimental music.
Just to prove the point — and this is probably a bit excessive — here are a bunch of other albums from 2006 that I really liked. Four or five of these could easily have been in the top 10 if I’d been in a slightly different mood.
- Aghora — Formless
- Christina Aguilera — Back to Basics
- Amon Amarth — With Oden On Our Side
- Atomic — Happy New Ears!
- Michaël Attias — Credo
- Tim Berne — Livein Cognito
- Iva Bittová — Superchameleon (DVD)
- Boris — Pink
- Peter Brötzmann, Marino Pliakas & Michael Wertmüller — Full Blast
- Burial — Burial
- Nels Cline — New Monastery
- The Core — Blue Sky
- The Coup — Pick a Bigger Weapon
- Damsel — Distressed
- The Decemberists — The Crane Wife
- Enslaved — Ruun
- From a Second Story Window — Delenda
- Nelly Furtado — Loose
- Genghis Tron — Dead Mountain Mouth
- Isis — In the Absence of Truth
- Isis — Clearing the Eye (DVD)
- Isis & Aereogramme — In the Fishtank 14
- Glenn Kotche — Mobile
- Magma — Epok II (DVD)
- Loreena McKennitt — An Ancient Muse
- Mogwai — Mr. Beast
- Simon Nabotov & Tom Rainey — Steady Now
- Nightwish — End of an Era (DVD)
- NIMBY — Songs For Adults
- One Shot — Ewaz Vader
- Peeping Tom — Peeping Tom
- Radio Massacre International — Septentrional
- Sunn O))) & Boris — Altar
- Justin Timberlake — FutureSex/LoveSounds
- Unexpect — In a Flesh Aquarium
- Uzva — Uoma
- The Vandermark 5 — A Discontinuous Line
- Yakuza — Samsara
- Dhafer Youssef — Divine Shadows
- Zaar — Zaar
There you have it. I’m planning a couple other posts, coming towards the end of the month, recapping my 2007 without actually doing a top 10 albums list, since, of course, that’ll be coming in a year. But I do want to talk about my favorite concerts of the year, as well as discuss the continuing evolution of my music tastes (in this case, this year saw me listening to more extreme metal and free improv than ever).
Tuesday, August 7th, 2007
Long time no post (although it’s nice that I start feeling like I’ve been neglecting this after a couple weeks of not posting instead of, say, three months, as has happened in the past). This summer has kind of revealed to me how important live music has become towards keeping my interest peaked in music in general. In short, no concerts = less enthusiasm about listening to records. Which is kind of interesting considering that it was only in the past few years that I really started going to see a lot of live music.
In any case, here are a few things (in no particular order) that have been getting me excited lately despite the lack of live shows:
- Joanna Newsom - live at the First Unitarian Church, Philadelphia, PA — a 90-minute audience-shot film of her performance last November in Philly. This is the most sublime thing I’ve downloaded from Dimeadozen in the past couple years. I wrote about it way back in January and I’m still enamored with it. Mike McLatchey thinks it’s pretty swell too. This is wonderful stuff; Newsom’s voice is toned down a bit and getting to watch her play her harp is a treat.
- Pulsar - Memory Ashes — yes, it’s the same Pulsar that released Strands of the Future and Halloween, a full three decades ago. As I posted on ProgressiveEars, this reunion album is nothing groundbreaking, and it borders on new-agey at times, but it also has some very nice Floydian moments. This is how some folks have described Gorlitz, which I have not heard.
- Dälek - Deadverse Massive Vol. 1 — only a couple listens so far, but for an outtakes album this is pretty damn good. There are some killer beats and soundscapes here, and the 17-minute shoegazer epic in the middle of the album is pleasantly engaging. Dälek is fast becoming one of my favorite currently active artists.
- Amarok - Sol de Medianoche — with a few exceptions, I haven’t found this as consistently engaging as Quentadharkën, but there are still some really beautiful pieces, especially early in the playlist. As far as symphonic progressive rock goes, these guys are still a favorite of mine.
- Vedres Csaba - Fohász — as a huge fan of early After Crying, it’s a little weird that I’ve never explored Vedres’ solo output, but I had been scared off by the “solo piano” stuff, thinking it would be boring. Well, it’s not. It’s gorgeous. And Vedres sings on some of these songs, too, and I love his voice. This is a compilation drawing from 4-5 of his solo albums, basically all of which I now want.
- Grayceon - Grayceon — they’re marketed as some kind of proggy metal, but to me they sound like indie-chamber-post-rock or something like that. The recording and vocals have a slightly amateurish feel but the compositions are great, taking full advantage of the band’s rather interesting cello/guitar/drums configuration. This is for sure a band to keep an eye on.
- Marc Ribot - Asmodeus — John Zorn’s Masada Book of Angels series can’t be accused of staying too tightly within the confines of jazz, what with every other album in the series falling completely in another genre. Asmodeus is pretty much straight-up power trio instrumental rock, and good rock at that. This series has been a bit hit-or-miss for me, but this one’s a definite hit. (Also, the news that Secret Chiefs 3 are doing the next Book of Angels record: hit!)
- From a Second Story Window - Delenda — one of Dave Kerman’s extreme metal recommendations, these guys are like a more extreme version of Opeth, combining rapid-fire grindcore riffs with the occasional clean vocals that are all the more effective for their rarity. The few tracks that feature brief clean vocals are definitely my favorites.
- Peter Brötzmann Chicago Tentet - Stone/Water — this is my first Brötzmann Chicago Tentet album, and the one that came with the highest recommendations from I Hate Music. And I can see why, because damn it’s awesome! I was expecting a near-unlistenable blowfest, but there are tons of nuanced moments. Fred Lonberg-Holm’s cello work is wonderful throughout, and Jeb Bishop on trombone also stands out for me.
Sorry for neglecting the site a bit in the past month, after the next couple weeks are over with I will have a lot more time to commit to adding reviews and blogging more regularly.
Monday, June 18th, 2007
If you’ve actually been following the last.fm widget up there at the top of the blog, you might know some of this, but in any case here is what has been occupying my ears for the past couple weeks.
- Anekdoten - A Time of Day — Well, it’s better than Gravity, but that’s not exactly high praise. Jury’s still out on this one for me; I could see it being a grower.
- Cato Salsa Experience & The Thing with Joe McPhee - Two Bands and a Legend — This was on my previous list of this sort, from back in April, and it’s still in heavy rotation. I’ll be reviewing it soon.
- Do Make Say Think - You, You’re a History in Rust — This one is also a long-lasting pleasure, and will likely end up being one of my favorites of the year. This is post-rock at its most beautiful, yet sacrificing nothing in depth (unlike, say, some of the material by Explosions in the Sky).
- Dungen - Tio Bitar — My first impressions so far are just that; nothing has really stood out to me. For some reason I get less and less excited about this band as time passes, and I was hoping this album would change that. Hasn’t happened yet.
- Grails - Burning Off Impurities — This is a really hard band to pigeonhole; they’re somewhere between post-rock and prog and metal and ambient and world music, or something. Previous albums have not really excited me, but this one has some really great moments.
- Isis - Live.04 — Isis’ latest limited-edition live CD is a mixed bag of cuts mostly from Celestial and Oceanic. Oddly, I like the earlier stuff the best; the band’s raw power really comes through in the live context.
- King Crimson - Live in Heidelburg 1974 — Highlight of this one is pretty clearly the funky “Heidelburg II” improv, in which Bruford comes through with some of the most agile playing I’ve heard him pull off in a KC improv, and Wetton just levels everything in his path.
- Joanna Newsom - Joanna Newsom and the Ys Street Band EP — I’m not really that thrilled by the re-recorded versions of “Clam, Crab, Cockle, Cowrie” and “Cosmia,” but the new song “Colleen” is up there with anything else Newsom has yet recorded. I cannot wait for her next release, and I’m even more excited for her next tour.
- Nightwish - End of an Era — There are so many things I don’t really like about this band — the silly bombast, the terrible male vocals, the lyrics — but somehow in the end I’m always won over by their sheer energy and the obvious joy they get from playing their music. This DVD is addictive, and although there are several throwaway pieces, it’s great fun.
- Pelican - City of Echoes — Not sure what I think about this one yet; I think I like it better than The Fire In Our Throats Will Beckon the Thaw, but I could be wrong. It definitely seems more dynamic, although the Pitchfork review is dead-on in picking out the drummer as a factor holding the band back from greater heights.
- Sleepytime Gorilla Museum - In Glorious Times — Well, duh. This has been dominating my speakers for weeks now. My review basically says all I need to say about it: it’s awesome.
- The Thing - Live at Blå — Basically two half-hour pieces consisting of “covers” of barely recognizable songs strung together by free improv sections. Definitely not the most accessible place to start with this band, and I find myself thinking it definitely has some dead spots that could have used cutting, but it’s an accurate picture of what they do when they play live.
- Wilco - Sky Blue Sky — Now this is a huge disappointment. Nels Cline and Glenn Kotche are two premier innovators on their respective instruments (and the rest of the band are hardly slouches), but instead of a worthy followup to the skewed indie-pop of Yankee Hotel Foxtrot and A Ghost is Born, we get a middle-of-the-road, mostly boring, totally straightforward album of pop-rock that’s to the band’s earlier output as David Gilmour’s On An Island is to Pink Floyd’s Wish You Were Here. Some reviewers have been saying “but it’s so well-crafted!” but I disagree with that, too — some of Tweedy’s vocal lines and melodies here are nothing short of cringeworthy.
Friday, January 12th, 2007
I’m not generally a huge fan of music DVDs. Over the years I’ve developed a certain way of listening to music that allows me to multitask while still listening fairly actively. This is good and bad, because while it means I can listen to a LOT of music, it also means that the amount of time I spend doing nothing but listening to music has decreased — at some point I would like to go back to doing what I did at one point, dedicating an hour every night to doing nothing but close listening. But back to the DVDs thing: I can’t multitask when watching a music DVD (or any music with a video element). Sadly, this has become a pretty strong disincentive. That said, I’ve watched a few music films lately that completely engrossed me.
A while back I got the new Magma DVD, Epok II, with performances of Wurdah Ïtah, MDK and “De Futura” from Üdü Wüdü. A few nights ago I finally got around to watching part of it — just the Wurdah Ïtah performance. It was excellent — not jaw-dropping, but perhaps the rest of the film will floor me. I really loved the Trilogie DVD from a few years ago (wow, was it really over five years ago when that came out?), so I have high hopes for these new Epok DVDs. Still have not gotten my hands on the first one though, which I need to do as it sounds like folks generally are thinking the first is better than the second.
Yesterday I got the Los Jaivas Alturas de Macchu Picchu DVD, in which they “perform” the entirety of their most famous album at Macchu Picchu itself. The scare quotes are there because this is so obviously faked: the musicians are shown in various settings in Macchu Picchu playing sans any amplification or microphones, so clearly there’s some serious dubbing going on. I have not A/B’ed the DVD with the actual album, but I think (and I could very much be wrong) that it’s not a direct transfer of the album songs onto the DVD. There are some parts which sound slightly different to me, although this is very minor — it is likely a remix rather than a completely different performance.
As befits a DVD produced by the Peruvian government in 1981, the overall look of this DVD is very 80s; a bit fuzzy and definitely a little cheesy by today’s standards, but there are still some breathtaking moments. Also nice are the little bits interspersed between songs where the viewer is given some basic history of Pablo Neruda and Macchu Picchu. All this stuff is in Spanish of course, but reasonably accurate English subtitles are available, and in a nice touch, the song lyrics are also subtitled as they are sung. I didn’t watch too many of the extras last night, but it didn’t look like there are any subtitles for those.
The whole DVD feels like something a lazy teacher would show his students in order to take a day off from working. I’m not sure it’s worth the $25 or so that it seems to be going for from most places, but I’m glad I got to see it regardless.
Finally, and best of all, I downloaded from Dimeadozen a 90-minute amateur video of Joanna Newsom’s performance in Philadelphia this past November. This was a seated show and the camera must have been tripod-mounted as the view is very stable (though the panning is clearly amateurish). More importantly, the sound quality is fantastic and so is the performance. It’s a real treat to see Newsom sitting behind her harp with a mike pressed close in, and watching her fingers fly while her voice works overtime. I feel that on her albums, The Milk-Eyed Mender especially, some of her beautiful harp playing gets trampled by her rather attention-grabbing vocals. Actually seeing her play the harp remedies that to a certain extent, and she is quite a fabulous harpist. She is also, in this show, charmingly genuine, mouthing “wow” at the adoration of the crowd and giggling through her vocals during the encore when the audience cheers wildly at the beginning of a familiar song. Like Ys, this video brought a smile to my face and I watched the whole thing straight through with no lapse in attention. Many, many thanks to the taper and seeder; this is one of the best things I’ve downloaded from Dime in a long time.
Sunday, December 31st, 2006
Well, there’s one last end-of-year list that I want to do: best shows I saw this year. I made a sort of new year’s resolution at the beginning of the year to see more live music — in the past I have generally been pretty lazy and not bothered leaving the house to make it out to shows other than obvious must-sees (like Los Jaivas, or Present, etc). This year, I made a conscious effort to overcome my inertia and make the effort to get out and see/hear more. I was moderately successful; I think I saw 25 shows over the course of the year, although I might be forgetting one or two. In any case, here are some highlights, in chronological order.
- The Vandermark 5 at Iota, February 3 (blog entry) — I never got to see this band with Jeb Bishop, which I regret, but Fred Lonberg-Holm was a revelation, a total wildcard. Super high-energy, awesomely tight, these guys played a wide-ranging set that was the first great show I saw this year.
- The Claudia Quintet at Twins Jazz, March 14 (blog entry) — I’m not a huge fan of their studio albums, but live, they were a joy to watch; John Hollenbeck’s busy drumming style was a treat and Matt Moran on vibes was a whirling dervish. But the star of the show for me was Chris Speed, who blew up with one absolutely thrilling tenor sax solo and a lot of other highlights.
- Stórsveit Nix Noltes at The Black Cat, March 21 (blog entry) — This one was a total surprise; I went to this show for the headliners, Animal Collective, but these guys stole the show. A nine-piece band from Iceland playing rocked-up Eastern European folk music? Sounds right up my alley, and it was. High energy and big fun.
- Isis, Dälek & Zombi at The Black Cat, April 30 (blog entry) — The rare bill where I know and like all three of the bands, and none of them disappointed. I was too tired and it was too loud for me to enjoy this show to its fullest, but all three of the bands put on a great show. It may have been Dälek who left the biggest impression on me, with his militant stage presence and aggressive wall-of-sound production.
- Satoko Fujii/Natsuki Tamura at George Washington University, May 23 (blog entry) — Transparent Productions brought these Japanese avant-jazz masters to DC to play in front of an audience of maybe 15, and they did not disappoint. Probably my favorite show all year. Very challenging; the two of them played for an hour straight with no breaks, and it was hard to tell what was improvised and what was composed. As much classical influence as jazz, and Fujii had a way of keeping me mesmerized that I won’t soon forget.
- Berne/Carroll/Formanek/Rainey at An Die Musik Live, July 29 — For some reason I never wrote about this show, which is weird because Berne is probably my #1 favorite current jazz artist, and Rainey just might be my alltime favorite drummer. For the first of the two sets I was seated front row right in front of Rainey, and I barely noticed anything but his playing, he was so good. He used a very basic drum kit but eked a huge variety of sounds from it, using all kinds of techniques. The second set I actually enjoyed even more; they played more stuff I recognized, like a couple tunes from Feign, and seemed a little tighter. Great stuff, hope I get to see Berne again sometime in 2007.
- Nels Cline/Glenn Kotche at The Black Cat, September 20 (blog entry) — Another nice surprise; I came for Cline but I might have actually liked Kotche more. Cline was in full-bore noise mode, wringing loud squalls of feedback from his effects-laden guitar; he was fun to watch but a little hard to listen to. Kotche was equally inventive but more accessible; the idea of a solo percussion set had me a little apprehensive, but his stuff was melodic and fun. The two of them played together to close out their set, and that was my favorite part of the show. A memorable performance from two great improvisors.
- Yo La Tengo at the 9:30 Club, September 26 (blog entry) — Man, another pleasant surprise. I guess I kind of knew what to expect here, but I didn’t think they were going to completely blow my head off. Ira Kaplan’s guitar freakouts were delicious, noisy and cacophonous but somehow still melodious, if barely. I’m indifferent towards a lot of this band’s poppier moments (though a lot of them are still very good), but when they “shut up and play their guitars” it’s a wondrous experience.
- Massive Attack at the 9:30 Club, September 28 (blog entry) — Completely different from any other show I saw this year, these guys brought their full complement of guest vocalists and instrumentalists. I lost count of how many sharply-dressed British folks (pretty much equal proportion of males and females) were sauntering about on stage, backed by the most involved lightshow I’ve ever seen at the 9:30 Club. Their trademark trippy beats and sultry vocals made for quite a sensual concert experience, but that didn’t stop them from also rocking out when they wanted to.
- Wilco at the 9:30 Club, October 19 (blog entry) — This couldn’t possibly live up to the amazing show I saw them put on last year at the same place, but taken on its own, it was still damn good. Some of the new pieces were a nice surprise; hearing Cline and Tweedy do a melodic classic-rock dual-guitar jam was a surreal highlight. Last year’s show was for the ages; this one was merely great.
- Maja Ratkje & POING at the National Museum of Women in the Arts, December 17 (blog entry) — Like the Fujii/Tamura show, this one was demanding, required all my attention, and left me tired at the end. It was also a fabulous performance. I saw some pretty out-there avant shows this year (a noisy improv set from Denman Maroney, Jack Wright and Reuben Radding tops the list), but this one was easily the best of them. There was a real method to this madness, and I found it quite compelling. A great way to end the year.
On the opposite end of things, probably the most disappointing show I saw this year was in late January, when Alec K. Redfearn and the Eyesores were supposed to play at the Warehouse Nextdoor, but never showed up. I contented myself with Make a Rising, a Philly band who had gotten good reviews on the avant-progressive list and elsewhere, but they just seemed like a really, really amateurish chamber-rock band to me. Oh well.
The show I am most bummed I missed? By a long shot, Joanna Newsom, who played at the Black Cat in November. I had fallen in love with her new album Ys, but did not think the show would sell out. I mean, she has an immediately hatable voice and she’s pretty obscure. I didn’t expect her to blow up in popularity with Ys (the damn thing is five epic-length songs fergodsakes), but she did. She sold out pretty much all her shows, including the one in DC. Dammit.
Here’s hoping 2007 is as good a year as 2006 was for live music in DC. As Steve Feigenbaum said over at ProgressiveEars, I am endlessly thankful that I live in a place that offers so much great music. Now if only some of those damned New York avant-jazz musicians would journey down here every once in a while…
Sunday, December 10th, 2006
Usually, my favorite album of any given year doesn’t start to become clear until well into the next year — hence my penchant for posting best-of lists a year late. This year, though, there’s a runaway candidate already in Joanna Newsom’s Ys. Newsom is one of the more polarizing figures on the current indie music scene, although she’s gotten pretty much universal plaudits from the critics (just look at the Metacritic page for Ys). She’s got a voice that’s pretty much instantly unlikable, like a five-year-old singing in a falsetto. But if you can get past the timbre of her vocals, her music is rather astounding. I like The Guardian’s quote: “It may well be the most off-putting album released this year. After playing it, there seems every chance it is the also the most astonishing.”
Also revealed by The Guardian is that Newsom’s been listening to her Henry Cow. In retrospect this is perhaps not entirely surprising, considering that her vocals are about as conventional as Dagmar Krause’s. With that said, I am endlessly amused that in the coffee shop where I’m sitting right now, playing very loudly on the speakers is Newsom’s first album, The Milk-Eyed Mender. Evidently this is not a place that really cares about playing non-intrusive, inoffensive music so as not to scare off potential patrons. (And I do see at least one annoyed face turning up the volume on his iPod.)