Archive for Tulip Frenzy

Bigger Than The Led Zep Reunion, Magazine Comes Back for Five Gigs

Posted in Music with tags , , on February 7, 2009 by johnbuckley100

Beginning next weekend, alas, across the pond.

From the Guardian:

In subsequent years, one of pop’s great talents has been frustratingly detached. A 1983 solo album, Jerky Versions of the Dream, was followed by two albums as Luxuria and a reunion with Shelley for 2002’s Buzzkunst. In the meantime, Magazine’s legend has grown. Devoto was working on some music under the name Death Sweet and, typically, thinking of donating the proceeds to the campaign for assisted suicides (“Not very commercial, hah!”) when the group’s former members began working – separately – on a Formula solo album. A promoter offering Formula some live dates subsequently sent a “very hesitant email” enquiring as to the possibility of reuniting Magazine. Formula contacted bass player Barry Adamson, drummer John Doyle and Devoto.

“Dave made me an offer I couldn’t refuse,” says the singer, drily. “He said ‘Howard, it’s your last chance to be venerable.'” Sadly, McGeoch won’t make the reunion – he died in 2004, meaning the band are again having to replace “one of the batteries”. However, Formula insists that when they take the stage again – with Devoto’s former Luxuria partner, Noko, on guitar – they will “be Magazine”. Perhaps, back in the band who are loved more now than at the time, Devoto will finally achieve that sense of belonging.

“I still see the three guys I hung out with in my teens,” he considers, allowing himself a smile. “I like old gangs.”

· Magazine play London Forum (February 12-13) Glasgow Academy (16) and Manchester Academy (14 and 17). The Complete John Peel Sessions is out now on Virgin/EMI

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So this is what Howard Devoto looks like now (link below.)

http://www.guardian.co.uk/music/2008/dec/12/magazine-howard-devoto

The Morning After Girls At The Mercury Lounge 1/27/09

Posted in Music with tags , on January 28, 2009 by johnbuckley100

The Morning After Girls are ready for prime time, ready for their close up, with a live set that takes the best from their new material — “Who Is They” finished the set — and the best of the old.  This is a powerfully constructed band, with tight vocal harmonies woven like a sash between Sasha Lucashenko and Martin B. Sleeman, who share guitar duties.  

Long ago, the story goes, novelist Scott Turow mentioned to his law firm partners that he would soon have a thriller out, and his partners asked if it was going to be big.  He was confident enough – and knew his publisher’s budget – to say, “It’s going to billboard-on-the-back-of-the-bus big.”  So goes the suspicion about what the Morning After Girls could  be.  They could be Oasis big.  They’re also going to delight critics, most of the time.  Think of the Stone Roses, at least for the vocals. And they split the difference between the louche ’60s guitar sound of the Brian Jonestown Massacre and the tight hook-laden pop careerism of the early Dandy Warhols.  You know they were torn over who to root for when they saw Dig!

The problem with the Mercury Lounge as a showcase is they got about two seconds to set up, and the sound’s bad to begin with.  And this is an ambitious  band whose guitar lines are precise, who use pedals and phase-shifting atmospherics, and whose harmonies need to jell. Too often it sounded like one of the guitars was just a little out of tune, or at least stuck in the maw.  Oh, but when they rolled through “Shadows Evolve,” and got to “Chasing Us Under” it all worked.  The vocals were on, the guitar lines snaked over and around each other.  “Chasing Us Under” was worthy of Dean Wareham and Sean Eden, maybe even Lloyd and Verlaine.  For a band built on melody and guitar dynamics, they put up a big ruckus.

The new members of the band play tight.  Can’t wait, for their sake and ours, for The Morning After Girls to play a set with clean sound, after a sound check.  A very good New York debut under less than ideal conditions.

Morning After Girls Post Free Dowload, Info On New Album

Posted in Music with tags , on January 23, 2009 by johnbuckley100

The song “Shadows Evolve” is now available for download here: http://themorningaftergirls.com/

On the Mercury Lounge website, previewing their show Tuesday night, there’s a write-up that gives us more information on their new album, which would appear to be called Life, Alone, than we have gotten on either their website or MySpace page.   (See below.)

“Shadows Evolve” is pure BJM guitar goodness, with softer vocals.  Good stuff.  Can’t wait for the album.  Also, note below that they declare they will be touring extensively in the US in 2009.

UPDATE: So I wondered why the British version of the album we know as Prelude EPs 1 and 2 was called Shadows Evolve, and of course it is because the song is 4 years old…  So not from the new album.  Though great — so great, one wonders if in its entirety, the new album can live up to the standard set by their first releases.  So far, based on what’s on their website, the answer is yes: great guitar work and song structure, though the vocals seem a little… prettier.  We shall see.

The Morning After Girls
over the past year and a half, the morning after girls have taken the time to reflect upon their journey so far. in this time of fast development, transient communication, and transparent meanings, they felt it was their responsibility to take the time to really contemplate what life, music and basic human existence means for us all today. what resulted from this, is a new album, resting on the creative base of sacha lucashenko and martin b. sleeman. over the past year, the album has journeyed through different times, different places, different relationships, different personalities; all of which are so vital to gaining a complete representation of what it’s like to live through the days of this thing we call “life”. the album was recorded in various parts of melbourne, australia, and was mixed and produced by martin and sacha, with alan moulder at the helm.

in an age where the speed of development is thought to bring people together, it seems that most of us may feel a greater sense of isolation than ever before. technology seeks to connect, but it seems many of us feel a lack of the reality which binds us all; meaningful connections. this is not a new theory by any stretch of the imagination, but, simply, over this past year and a half, the morning after girls have managed to celebrate this very feeling of aloneness by creating an album that is simply an exploration of the very things which makes each one of us truly unique, truly apart from the next, purely, alone.

as was always planned, martin and sacha relocated to new york city in 2008, and with the inclusion of ej hagen (bass guitar), alexander white (keys, sounds, percussion), anthony johnson (drums, percussion) and alexander white (keys, sounds, percussion) , the band will again be touring extensively throughout the usa and abroad in 2009, starting with shows at new york’s mercury lounge (jan 27th), and los angeles’ viper room (jan 29th).

indeed, it is easy to say that Life is a constant flow of beginnings and ends, inhaling and exhaling, rising and passing. well, the morning after girls’ voice remains steady and stronger than always, and as you join them on this journey, you will see that there is not a call, nor text, nor an email that you need to attend to. there is simply the true presentation of the bond between your heart, soul and mind. all binded by the beauty of that which can never be broken – music.
they are here to stay,and are grateful to have you with them.
thank you for joing them.
there is no other way.
thank you.

Pride (“In The Name Of Love”)

Posted in Music with tags , on January 19, 2009 by johnbuckley100

Happy MLK birthday from the Lincoln Memorial, January 18th, 2009. Leica M8, 50mm Summilux.u21

The Morning After Girls Post New Songs On Their Website

Posted in Music with tags , on January 14, 2009 by johnbuckley100

Unfortunately, there’s no release date set for the album, no reference to a label.

To the music industry: here’s a chance to redeem yourselves.  Sign this band, buy their album, promote them.  They have a following.  And they’re great.

Unfortunately their widget doesn’t load to WordPress, but maybe it will load to your page.

http://www.themorningaftergirls.com/

Camper Van Beethoven’s Silver Anniversary, And “New Roman Times” Revisited

Posted in Music with tags , , on January 9, 2009 by johnbuckley100

Last night, Camper Van Beethoven played the State Theater in suburban Washington as part of their 25th Anniversary Tour.  They were great.  David Lowery, the world’s most unassuming rock band frontman (at least with CVB; in Cracker’s glory days he could, on occasion, strut maybe five feet to the right and left) now looks like a suburban Republican dad, or at least like PJ O’Rourke.  Jonathan Segal was in especially fine form on fiddle.  Greg Lisher did his best deadpan Jimmy Page impression.  Victor Krummenacher was, as always, amazing on bass.  And Frank Funaro — was that Frank on the skins when they played the 930 Club in, oh, 2005? — earnestly walloped the drums in rhythmic patterns ranging from gypsy ska to punk from the Steppes: no easy fete.

People tend either to adore CVB or not take them seriously.  And yes, going from a four-chord rock song to some weird take-out on klezmer music makes one, on occasion, wonder if they missed their calling as the world’s greatest hippy bar mitzvah band.  I actually think their over-the-top eclecticism, their virtuosity, the way an ordinary verse-chorus-bridge-verse song can suddenly effloresce into a moment of aching beauty means these guys are serious artists who ought to be reckoned with.  

And I was thinking — thinking as they played “Take The Skinheads Bowling” and “Eye of Fatima” and other alternative hits, high on irony, musical jokes — that it says something that Camper Van Beethoven was the only band in existence (okay, maybe Steve Earle) that genuinely took on the Bush Administration and the Iraq War with anything that approached artistry and depth, without posing or self-congratulations (Dixie Chicks), without just reverting to use of the old ’60s bludgeon- form (Neil Young, and a slew of others.)

New Roman Times came out in 2004, just a year into the War in Iraq.  On examination, it’s not merely the best thing they’ve ever done in their quarter-century existence.  It is one of the few works of art focusing on America in this wretched period we’re about to leave behind, that I believe will stand the test of time.  It’s not a screed.  It’s a deeply moving album with great music and a funny concept/story that, even though it kind of falls apart, is an unheralded work of comic brilliance.    (In 2004, the world was not quite ready for a rock concept album that declared the Bush Administration’s Iraq policy a tragicomedy.)

A young man joins the military (“51-7”), goes off to Iraq (“Might Makes Right”), becomes disillusioned upon his return to Austin (“New Roman Times”), and becomes a stoner participant in a Blackwater-like “security firm” (“The Long Plastic Hallway,” “I Am Talking To This Flower.”)  Along the way, there are detours into telling the Unibomber story (“Militia Song”), and of course it winds up with a classic CVB anthem (“Hippie Chix”), with its by-now famous chorus — available on bumper stickers — of “I would die for hippie chix.”  But years from now, when we think about what a long, awful trip the last eight years have been, while some people will put on a Michael Moore film fest, and no doubt other, more serious folks will read brilliant works of journalism like Dexter Filkins’ “The Forever War” and Jane Mayer’s “The Dark Side,” I know I’ll be tapping my feet to CVB, just like I did last night, appreciating these guys for what they are: not just rock music’s brilliant jesters, but a band that is fine, and frickin’ wonderful, and while they’re at it, deep.

Is Oedipussy’s “Divan” The Great Lost Album Of The 1990s??

Posted in Music with tags , , , on January 3, 2009 by johnbuckley100

Sure sounds like it.

At last I have it in my hands, well, deep in my computer, its sounds emerging from speakers.  Phil Parfitt’s post-Perfect Disaster solo album, and maybe the last thing to be heard from the guy.  (Wherever he is now, he does not seem to be making music…)

Some background: The Perfect Disaster  were an interesting, sometimes thrilling late ’80s British band headed by Parfitt, with the glorious Dan Cross on lead guitar, what had to be Mo Tucker’s illegitimate son Jon Mattock on drums and, before she left for The Breeders, Josephine Wiggs on bass and vocals.  Their album Up is what got me started, especially “Time To Kill.”  They had a chugging, Velvets sound, had spent plenty of time listening to the Buzzcocks and Modern Dance-era Pere Ubu, and Parfitt was a wonderfully sneering front man, limited in vocal range, but of course that made sense, since the model was Lou Reed.  Heaven Scent came out in 1990, and to my ears was stronger than Up (though britcrits seem to prefer the former.)  It had a little less urgency than its predecessor, but by now Parfitt’s songwriting craft had more facets and dimensions, yet was more contained.  Great things seemed in store, and … poof.  They disappeared.

It was only recently that, through the miracles of the Internet, PayPal, and free trade, I got a lead on Parfitt’s 1994 solo album, Divan, put out under the band name Oedipussy.  It picks up right where Heaven Scent left off, minus Dan Cross’s canny lead guitar, but by now utilizing loops and longer song formats. British music sites refer to Divan as “the great lost album of the 1990s,” much the way Henry Badowski’s Life Is Grand is the great lost album of the 1980s. But lost, evidently, Divan isn’t.  Great, I can say on the basis of a morning’s listen, it genuinely is.  “Free” takes the same principal of found-art that Eno applied to “Help Me Somebody” and puts it on a long, loping dance riff that reminds us of “Time To Kill.” “Too Late” sounds like Luna being chased down and then run over by My Bloody Valentine. “Do It Right” has such a contemporary  swamp groove (don’t play it ’round the kids) it could be the Golden Animals.

If you think back to ’94, it was such a dull time in music, when Oasis came on the scene they were greeted like the second coming.  Too bad Oedipussy couldn’t have gotten a proper hearing.  Worse still that we don’t have Phil Parfitt around today.  Maybe he’s off with Howard Devoto recording the Great Lost of The Naughts. 

All’s I know is I’ve waited years to hear Divan, and thanks to a happy hand off from the Royal Mail to the USPS, 2009’s getting off to a great start musically, even if the source of fascination is an album that’s 15 years old.

Make Your Own Virtual Movie Theater

Posted in Uncategorized with tags , , on December 17, 2008 by johnbuckley100
Tulip Frenzy wishes to offer its viewers a great holiday film widget courtesy of those geniuses at SnagFilms. Watch this here, or snag the widget to your own site. Better, go to http://www.snagfilms.com and assemble your own slate of films.

[clearspring_widget title=”Make Your Own Virtual Movie Theater” wid=”494037af58fb5b39″ pid=”49490af55b3d07b8″ width=”300″ height=”250″ domain=”widgets.clearspring.com”]

Alejandro Escovedo’s O Street House Party

Posted in Music with tags , , , on November 17, 2008 by johnbuckley100

Ain’t nothin’ but a house party that Alejandro put on at the O Street Mansion in D.C. last night.  By the time he got to “Pissed Off 2AM,” his voice was a little ragged, and so it should be, when you’ve played your heart out for a stadium arena — actually, for an intimate gathering of 100 lucky fans.  Because they were filming for a yet-to-be-announced project, it seemed like Alejandro, Susan Voelz, and David Pulkingham ramped up their set with even greater tension, simultaneously more precise and wilder in their abandon.  If the highlights from last Sunday’s show at the Birchmere were “Everybody Loves Me” and “Deerhead On The Wall,” last night the highlights were “I Was Drunk” and “Chelsea Hotel.”  Not to mention “All The Young Dudes,” sung while standing about four inches from the crowd.  This portion of Alejandro’s version of the Never Ending Tour having concluded, we look forward to his return with the whole rocking ensemble.  And since he deserves to play in stadiums, if that’s where he wants his next house party to be, we’ll show up there, too.

(If possible, will post some of Carl Hutzler’s superb photos later.  If not, go here to see them:http://carlhutzler.com/blog/

Calexico Beams Border Radio From The 930 Club

Posted in Music with tags , , on November 14, 2008 by johnbuckley100

Cap-it-al Radio: Joey Burns and John Convertino set up the pirate transmitter not one mile from the White House last night, and beamed their cross-border cultural mashup to a 1000 anxious fans.  The brilliant Carried To Dust, which ranks high on Tulip Frenzy’s office playlist, was explored almost in its entirety, though they dipped into their saddlebags to pull out treasures from Feast of Wire and the whole arid ouevre. These guys are brilliant musicians, and Burns is a really good singer — his voice runs patterns inside the wide-out routes covered by Gary Louris.  The highlight, of course, was the way their Fear-And-Whisky-era-Mekons-meets-Herb Alpert sensibility added a mild salsa spice to an otherwise alt.country bowl of chili.

When you think that these guys were carved more than a decade ago from a stray mound of Giant Sand, and that in those days, they hadn’t even added the Sergio Leone horns, it’s a wonder.  The mathematical precision of the two trumpets playing in unison conjures visions of a sunburned Johann Sebastian Bach, stumbling through the salt flats with a mescal buzz, conducting the horn section with his sunglasses askew.  I’ve never before witnessed a whistled solo, but these guys did it, and you could hear the horse being slapped on its rump while Zapata rode til dawn.  Andale!

Joey Burns alternated between a white Palomino of an electric guitar and his acoustic built to scale for a Mexican teenager, and John Convertino put on a seminar on how to use brushes and the snare with little regard for the tom toms.  “Two Silver Trees” was a little flatter than on the album, but “Writers Minor Holiday” was like the soundtrack to a Roberto Bolano novel.  You could see why so many musicians have hired them to be their studio band, could understand why half of the I’m Not There tracks were recorded with these guys underneath.  And yet when it came time for Calexico to take a star turn, to stand astride their rising career like a bandito on the final quarter mile ride to the saloon, they were plenty comfortable in the moonlight.