Archive for Ty Segall

SHOCKER: Tulip Frenzy Jurors Deadlock, as Kelley Stoltz’ “Que Aura” and Wand’s “Plum” *TIE* for 2017 Album Of The Year

Posted in Music with tags , , , , , , , , , , on December 2, 2017 by johnbuckley100

 

Dateline WASHINGTON — For the first time in the more than 10-year history of Tulip Frenzy’s annual Top 10 List of the year’s best albums, jurors were unable to reach a decision on the #1 Album Of The Year.  

Deadlocked between Kelley Stoltz’s Que Aura and Wand’s Plum, the publication’s editorial staff emerged from an all-night session that left Tulip Frenzy World HQ’s rumpus room as wrecked as Keith Richards’ teeth, pinned two album covers on the bulletin board, and collapsed in the lobby. Deliberations were so heated that hours later, when it was suggested that Kelley Stoltz should be listed before Wand — because both K and S precede W in the alphabet — new skirmishes broke out, until finally it was decreed that while alphabetical order would rule, readers should be informed that this ordering in no way implies Plum was any less stellar than Que Aura.  So, this ordering in no way implies Plum was any less stellar than Que Aura.

#1 Album of 2017 (tied): Que Aura by Kelley Stoltz

After having provided us with such immense pleasure over the past decade, and twice landing records in our Top 10 List, Kelley Stoltz triumphed in 2017 with possibly the best music of his career.

In October, when we caught up to Kelley Stoltz’s magnificent ninth album, Que Aurawe wrote:

“The songwriting as a whole is stronger than on any album since Circular Sounds.  ‘I’m Here For Now’ ranks with Double Exposure’s ‘Still Feel’ as among the most infectious rockers of his career.  ‘Tranquilo’ is the closest thing Stoltz has produced to a hit you could see coming out of the Motown basement, and it has all the quirks and charms of his greatest songs before culminating with psychedelic panache.  On ‘Same Pattern,’ it’s clear that Kelley has had a conversation about synths with his label master, Mr. John Dwyer.  Out of 11 songs, there are but two we don’t think we’ll be listening to a decade hence.  This is a glorious clutch of songs, rendered with enough analog guitars, bass, and drums to prevent the electronic keyboards from ever smearing the delicacy like a surfeit of Hollandaise on poached eggs.”

We concluded, “We already have raved about Kelley Stoltz a time or two, given his records received high marks on our 2010 and 2008 Top Ten Lists.  Somehow, even with all our raving, we have failed in getting him to perform at Madison Square Garden.  We’re not done trying.  And based on Que Aura, Kelley Stoltz is not done appearing at the top of Tulip Frenzy’s annual Top 10 List.”

We did not at that moment know how moved the Tulip Frenzy staff would be, insisting that Que Aura should take home all the marbles (tied).

Anyone who ever grokked the Beatles, was transfixed by Echo and Bunnymen, fell for David Bowie, or adored the Kinks should instantly adopt Kelley Stoltz as a cause.  Happily, Que Aura is an excellent place to start and it is Tulip Frenzy’s #1 Album of 2017 (tied).

#1 Album of 2017 (tied): Plum by Wand

On their fourth album, the young Angelinos who make up Wand recast themselves entirely.  A band whose first record was produced by Ty Segall, and sounded like it — raw guitar with metal roots, drums like rhinos escaping fire, Sabbath fuzz-tone bass guitar punctuated by the occasional acoustic hoedown — has grown enormously in the three years and three albums since.  In fact, we’d go so far as to say that in 2017, Wand have made the leap from being the little bros of Ty, Thee Oh Sees, and White Fence, emerging as the fourth leg of a sturdy West Coast table set for a long and glorious banquet.

After seeing them play an incredible set at DC 9, we wrote:

“We feel like Wand has grown up before our eyes, from their 930 Club debut in 2014 opening for Ty Segall to their stunning show at the Black Cat in 2015.  From the release of Ganglion Reef to Plum, they’ve grown from songs with titles like ‘Flying Golem’ and ‘Reaper Invert’ to becoming surely the only rock band extant to write a poignant song called ‘Charles De Gaulle.’”

We concluded, “Wand is at the height of their powers, but writing that we know they still have plenty of room to grow.  Some strong albums have been released this year by both Ty Segall and West Coast giant John Dwyer, whose Oh Sees made our August.  But among the West Coast’s finest, Wand’s come out on top, the best young band working today.  We stand back in awe at the prospect of what they’re capable of.”

With Plum, Tulip Frenzy’s #1 Album of 2017 (tied), Wand has cast its spell. We expect the world will be transfixed for a long time to come.

#3 Album of 2017: Orc by Oh Sees

In Orc, the 19th album John Dwyer has released under a rubric somewhere in the vicinity of Thee Oh Sees, he produced nothing less than a masterpiece.  Which is pretty good, since once again Dwyer is threatening to mothball Thee Oh Sees and go off hunting new whales in distant far-flung seas.

In August,we wrote:

“Here’s all you need to really know, if you are not someone whose large ganglia have twitched to Dwyer’s yips and the propulsive drumming of his 100-horsepower twin tyros lashed to the back of his guitar work.  The big question about punk rock was always what it would turn into when the primitives learned to play.  You know, not every band could be the Clash and by Sandinista be playing Mose Allison covers and pushing at the forefront of what then was called rap.  But at least three recs ago, Dwyer showed he could play guitar like Jimi Hendrix.  That he could compose complex rock songs with a power and beauty that rivaled anyone who’s ever admitted to participating in the genre.  That he seriously could, on the same album, mix punk, prog rock, garage, psychedelia, and pop.

“Last year, on the matched pair albums of An Odd Entrances and A Weird Exits we really could see adding jazz and Krautrock to that list. He is the magpie’s magpie, but that implies a lack of originality and in fact he’s the opposite.  A guy who as recently as 2011 was playing punk rock at high speeds is now capable of anything.  Here’s an example: on Orc‘s ‘Keys To The Castle,’ we start out on a light jog, John Dwyer singing harmony with (we hope) once + future Oh Sees singer Brigid Dawson, and ‘fore ya know it we’re traversing a steeper pitch with some classic punk chords as the song intensifies.  And then there is a pause… and we come back at slow mo’ speed with cello and organ and synth, in a lovely electric piano chordal half-walk, the sounds of space wrapping your face, and for the next four minutes, you are in a dream.”

We’re still dreaming, and listening to Orc as much as any Thee Oh Sees album not called Floating Coffin.  (It’s their best rec, and we listen to it weekly.). Orc is in that special category of albums we know will be copied from hard drive to hard drive all the way down to the iPhone LXV, the iPad Pro Invisible and beyond.

#4 Album of 2017: Robyn Hitchcock by Robyn Hitchcock

More than 35 years since he left the Soft Boys and released his first solo album, Robyn Hitchcock introduced himself to the world as Robyn Hitchcock, his most satisfying album since the Reagan Administration.  And when we say that, no one should think he’s been hiding under a rock — he’s placed high on the Tulip Frenzy Top 10 List (c) at least three times since 2008.

Last spring, when his eponymous umpteenth record was released, we went to see him play a solo set at nearby Jammin’ Java and had this to say about his new record:

“Hitchcock makes his home these days in Nashville, and thank Heaven he does, because his neighbor, Brendan Benson, was inspired to produce his newest record, requesting that it sound like The Soft Boys.  Robyn Hitchcock, released in late April, does sound like The Soft Boys’ two ’70s records, as well as his first solo album, Black Snake Diamond Role, which came out in ’81. Truth be told, it also sounds like the 19 studio albums he’s released since then.  That is the purest of compliments. Few are the artists who have changed so little over 40 years — and thank God for that.

“To the uninitiated: if you want a good entry point to Hitchcock’s work, at age 63, his new album provides it. From the hard rocking opener, “I Want To Tell You About What I Want,” to the gorgeous closer, “Time Coast,” it touches every base.  When rock critters describe Hitchcock’s influences and antecedents, Dylan, the Beatles, Kinks, and Byrds are the first references, with those looking to score points throwing Captain Beefheart in — not because he sounds like Don Van Vliet (though they do each possess multi-octave voices), but because of his absurdist sense of humor.  On the new record, Hitchcock sounds like… Dylan, the Beatles, Kinks, and Byrds, which is to say, after 40 years of record making, he sounds like Robyn Hitchcock, an artist who should be in their ranks, but somehow isn’t, except in our house, and those of uplifting gormandizers.”

You can probably tell from how that Tulip Frenzy piece ended just how much we have invested in Mr. Hitchcock: “Robyn Hitchcock is a national treasure — and he’s ours now, fuck Britain.  His shows should be performed at the Verizon Center, or at least he should be able to tour, like his hero Bob Dylan, minor-league ballparks.  At Jammin Java Wednesday night, he began his two sets with Dylan’s “Not Dark Yet,” and concluded it with “Visions of Johanna.”  In addition to covers of songs by Nick Drake and The Doors, he played 20 originals spanning 40 years of our devoted fandom, 40 years of pleasure. His body of work is so rich he could play 19 songs not on our list of his greatest ones and the evening still was glorious. That he is hilarious and eccentric is his charm and his undoing.  No one and nothing, not even time and commercial neglect, can take away his greatness.”

#5 Album of 2017: Endless Night by The Vacant Lots

This is the first time the Burlington-NYC duo of Jared Aurtaud and Brian MacFadyen have landed in our Top 10 List, but we doubt it will be the last.  Endless Night is one of those very rare perfect records, every song listenable, the whole greater than the sum of the parts.

Last spring, we wrote:  

“It might be easy to categorize The Vacant Lots as a sophisticated art project, given their album covers are as distinctive as their sound.  But from the very start, Jared Artaud and Brian MacFadyen proved their mix of garage psych and synth-driven pop was aimed at pleasing aural canals.  They have aimed to become a great band, associated with the likes of Dean Wareham, Anton Newcombe, Sonic Boom, and Alan Vega, and their debut album Departure has stayed on our playlist since the summer of 2014.  And yet none of this prepared us for Endless Night, which from its start to its historic finish is astonishing.

“Take the opener, “Night Nurse,” which has Artaud pick out a sinuous rockabilly lead above a disco beat, and quickly transports you into the demimonde of a tiny club, hermetically sealed against outside influences.  We’re going to be in for, well, a pleasurably endless night.  ‘Pleasure & Pain’ is not the first of these songs to call to mind progenitors Spaceman 3 and Spiritualized, and in fact, ‘Dividing Light’ has the power of Jason Pierce’s most compelling work.  Throughout Endless Night, the hitherto unappreciated juxtapositions of disco and techno, psych and soul,  rockabilly and garage, make the blood pulse like Molly just arrived.”

Looking back on our conclusion, we were downright prescient: “With Endless Night, The Vacant Lots serve notice that they’ve entered the front ranks, and we anticipate that when the story of 2017 is told — musically at least — and Top 10 lists are fashioned, The Vacant Lots will be among the last men standing.”

And so, of course, they are.

#6 Album of 2017: City Music by Kevin Morby

Ever since Kevin Morby wandered out of Woods and essentially grew up from his role in The Babies, he’s been a Top 10 threat.  Last year’s gorgeous Singing Saw was a contender, but in a competitive year didn’t quite make it.  But City Music was so good, it likely would have made our list if it had been released in 1968, or ’72, or even that banner year, 1997.

When it came out, we wrote:

“Morby’s voice isn’t particularly expressive, but his songwriting and storytelling more than make up for it, and his ambitions seem to be growing.  On Singing Saw, songs like ‘Dorothy’ and ‘I Have Been To The Mountain’ were so strong that they masked weaker material elsewhere on an album that was pretty universally acclaimed, including in these here parts.  There’s no such problem on City Music: every song, even the cover of the Germs’ ‘Caught In My Eye,’ will make you want to play this album loud enough to bug the neighbors in your stifling apartment building.

“A year ago, when Morby was able to tell the story of how he picked up and moved from Kansas City to Brooklyn, landing a few weeks later in Woods — then and now, a highlight of modern New York bands — the notion of the Bright Lights, Big City luring him from the midwest placed his narrative in familiar terms.  In City Life, he’s made it, he’s gone from the periphery to the center, like Dylan, like Jimmy Reed of Dunleith, Mississippi, who wrote the song, and Jay McInerney of Hartford, Connecticut, who wrote the book.”

Kevin Morby has fully arrived, able to make it in New York — or anywhere, really.  City Music made us appreciate city life in the heat of summer, no small feat in any year.

#7 Album of 2017: Ty Segall by Ty Segall

Ty came back from Emotional Mugger with a self-titled record that some compared to a greatest hits album.  There were tuneful pop songs, Lennon-esque rockers, trademark punk scrawlers — any of which could have found a home in his cornucopia of self-recorded, self-produced records released into the wild since the last decade.  But a compendium of familiar styles is not really a fair description, as there were new twists and turns that made us clutch the handle, lest we get flung into distant space.

When it kicked off the year, we were moved to state:

“On Ty Segall, the young genius has pulled together a collection of songs that are remarkably different from one another, but they don’t pull apart, they spin with centripetal force.  The most astonishing song of the lot is the 10:21 suite, “Warm Hands (Freedom Returned)”, which in five movements takes in the whole of Segall protege Wand’s prog, the Santana-influences of the Stones’ ‘Can’t You Hear Me Knocking,’ and two or three of Mr. Segall and his pal Mikal Cronin’s modern Power Pop’n’Punk flavorings.  It’s a tour de force.  But the whole album is, really.

“Since Segall’s advent at the beginning of this decade, rock’n’roll has been revived, and he’s the biggest reason.  Yes, we would still have Thee Oh Sees if Ty had not burst upon the scene.  But for at least seven years, Segall’s influence on other artists, and his own great output of self-produced, largely self-created records has added up to a movement.  He’s Shiva, creator and destroyer, making rock’n’roll relevant again.  With Manipulator a couple years back, he seemed to cast his lot with commercial success, and produced one of the catchiest collections of radio rock this side of the White Stripes or the Black Keys.  With Ty Segall, he’s gone for some thing bigger.  An *album* you mention in the same sentence as Sticky Fingers, Imperial Bedroom, even Sandinista.”

His acolytes, Wand, have leaped to the top o’ this list, but Ty is like a mid-career ballplayer who still hits with power, is still dominating the middle of the order, and can still take your breath away with his pure athleticism, when he wants.

#8 Album of 2017: Whiteout Conditions by The New Pornographers

They’ve been consistently so good for such a long time that you might take the New Pornographers for granted.  Listening to the superb Whiteout Conditions, we realized the New Pornographers are still capable of recorded greatness, and still occupy a special space in our hearts.

At the time, we went to see them at the 930 Club and wrote:

“Whiteout Conditions is the best New Pornographers’ album since the by-now classic Twin Cinema.  It’s hard to remember that when that record came out nearly 12 years ago, it was bemoaned for how the band had lost the oddness and caffeinated sheen of their first two astonishing albums.  Now, of course, we recognize Twin Cinema as a high point in Western Civ (and given how 2017 is going down, we’re increasingly worried that 2014’s Brill Bruisers might be seen by future historians as our civilization’s peak.)  Whiteout Conditions is a mix of everything we love about the band, bright and bouncy, profound when needed.  With songs like ‘High Ticket Attractions,’ which we can’t get out of our head, and new approaches like ‘Darling Shade,’ which sound like Martha and the Vandellas updated for the 21st Century, this Bejar-less edition of the band  flows like a lava tube off the edge of a cliff, powerfully smoking in the creation of new earth.

“That the New Pornographers are one of our very favorite bands defies certain logic.  Ordinarily, we treasure the analog sound of Fender guitars played by punk bands and The New Ps feature keyboard-driven synthetic sounds polished to a high gloss.  They’re not exactly a guilty pleasure or a secret passion, for we play their recs all the time, but the pleasure we get from listening to them is a bit like wearing only natural fibers in everyday life, while enjoying the chance to dress up in polyester.  Carl Newman clearly loved songwriters like Brian Wilson and bands like ELO, and us, not so much.  But last night at the 9:30 Club this band — capable of the most intricate studio albums — played a wonderfully organic set with four-part harmonies intact, the songs building and building so that by the time we got to ‘The Bleeding Heart Show’ encore, we could emerge from the club’s doors with a smile on our face, ready to face anything, up to and including all the laws that have changed.”

#9 Album of 2017: Damage And Joy by Jesus and Mary Chain

We never expected to hear new music again from Jesus and Mary Chain, even as the Reid Brothers reformed their act and hit the road.  While 1998’s Munki sat atop our list during that great year, we thought it would be their last recording session ever.  So when Damage And Joy came out this summer, we were filled with the latter even as our ears — after hearing them live a few times since 2012 — were still recovering from the former.  Maybe we’re saps for thinking this album is as good as we are convinced that it is — maybe this is like an old love who returns and you just can’t resist, even if she’s not right for you.  But no, this was a really great album, one of the year’s highlights, and deserves its place here.

When it came out, we wrote:

“In the time since they metaphorically burned their guitars, a lot has happened, and we’re not talking about all of the nasty changes in our world since the boom days of the late Clinton Administration.  Jim Reid got sober.  JAMC’s festival shows led to semi-regular touring, and despite — or because of — they way they turned the amps to 11, a new generation of fans for whom Psycho Candy was as distant, in some ways, as The Velvet Underground & Nico, saw them as the masters that they were.  It became inevitable that they would release new recorded music.

“We were unprepared for how great an album Damage And Joy is.  Purists may not like it because it’s not Finnegans Wake, it’s not difficult, it’s Dubliners: simple, easy to absorb, damn near perfect.  By the time December rolls around, we are certain it will remain high on our list of the year’s best albums.  It’s the Jesus and Mary Chain album we have waited for, somewhat anxiously, for a long, long time.

“We confess that we never loved Psycho Candy all that much.  The juxtaposition of Beach Boys’ songs, Sterling Morrison guitar, and Ramones’ propulsion against an industrial squall was interesting, but in many ways unlistenable.  Darklands was where we fell in love, with its spaciousness and gorgeous songwriting coalescing into a sound we could embrace.  Through those early ’90s hits, we hung on as they created a machine that was an early precursor of EDM while maintaining its linkage to real rock’n’roll.  For us, Stoned and Dethroned was the keeper, the classic, the songwriting at a peak, the wrestling match between melodies and riffs, between Jim’s hoarse whisper-singing and William’s guitar textures becoming not only one of the ’90s highlights, but an album for the ages.  When Munki came out in 1998 — perhaps rock’s greatest year — it was the culmination and the end of the line, Jim and William’s ambivalence — and conflict — were captured in the songs that began and ended the album: ‘I Love Rock’n’Roll’ followed by ‘I Hate Rock’n’Roll.’  But now they are back, and for the moment the ambivalence is gone.  Whatever happens from here, The Jesus and Mary Chain have returned from the dead, and the Hallelujah chorus is awesome to behold.”

#10 Album of 2017: Modern Living by The Living Eyes

We’re not going to quote an earlier review of Australian punks The Living Eyes’ magnificent Modern Living.  There isn’t one.  See, we just learned about them in the last 10 days — from the wonderfully comprehensive website, Raven Sings The Blues  — and while ordinarily it’s as dangerous to put an album this new on a year-end list as it is to march someone you’ve just met on a casino floor to the Vegas Chapel o’ Luv, we’re certain about this one: this is the Punk Record Of The Year, and a worthy way to round out our 2017 list.

Named for second best album by our favorite Aussie punk band, the legendary Radio Birdman — the equivalent of young British punks calling themselves The London Callings — The Living Eyes sound like they just took on the Undertones in some 1979 Battle of the Bands. With explicit nods to Birdman, and implicit nods to other Aussie forebears like the Saints and the Vines, maybe even The D4, Modern Living has the formula that has worked for bands as disparate as Rancid, Elastica and the Leaving Trains: all their songs have melodies! Even as they’re kicking in your stereo speakers, every song we’ve heard by The Living Eyes is hummable.  And the reason we are ready to walk straight from the initial spin of this album to this eternal coupling — they are forever joined to us by our putting them on our Top 10 List — is because we can’t get their songs out of their heads.

Full confession, we were tempted to have Brix and The Extricated take the final slot for Part 2, the wonderfully named album signaling the resurfacing of former members of the Fall 30 years after their Golden Age.  But as good as that record is, Modern Living blew us away. This isn’t Part 2 — this is the band’s initial foray into history and greatness.

 

 

 

Wand Brought Their Sweet “Plum” To DC9, And Played The Most Exciting Show In Memory

Posted in Music with tags , , , , , , on October 9, 2017 by johnbuckley100

Wand 2017All images Leica Monochrom and 35mm Summicron v. IV

The D.J. was playing Television’s “Marquis Moon” when Cory Hanson climbed up on DC9’s stage last night and strapped on his Stratocaster.  He played along for a moment, which makes sense when you consider that our early warning on how powerful Wand’s new album Plum would be was when Hanson told Uncut, “I was reading about how Television wrote Marquis Moon and they’d go into their rehearsal space five days a week for four hours a day.  So I decided to go in six days a week for 10 hours a day.  We pushed harder to see what would happen.”

Wand released “Blue Cloud” a few weeks before pushing Plum out the door, putting us on notice that not only was Wand ready to rehearse like Television, they wanted to beat them at their own game.  And from the moment last night that Evan Burrows furiously kicked into “White Cat” and Hanson and new addition Robbie Cody began trading guitar lines like Verlaine and Lloyd, it was clear they had.  As great as Television were (and are), Billy Ficca is no Aynsley Dunbar, and Burrows is unquestionably the greatest drummer playing in a band today.

Wand 2017-3

We feel like Wand has grown up before our eyes, from their 930 Club debut in 2014 opening for Ty Segall to their stunning show at the Black Cat in 2015.  From the release of Ganglion Reef to Plum, they’ve grown from songs with titles like “Flying Golem” and “Reaper Invert” to becoming surely the only rock band extant to write a poignant song called “Charles De Gaulle.”

On their first two albums, born like Catholic twins maybe 10 months apart, their early roots showed the influence of mentor Ty Segall, with Black Sabbath chords played at speed metal tempi.  But Hanson’s always had a melodic grounding, and any band that could put “Growing Up Boys” on their first album was destined for great things.  With Plum — with shows like the one they put on last night — their destiny has arrived.  We can’t think of a better album released this year, nor a better show than we saw last night.

Since they were here last, Sofia Arrequin was added on keyboards and vocals, and with her arrival Wand’s sound has shifted from synth-heavy support for Hanson’s fluid guitar and pretty voice to a band playing with the fluidity of White Denim, the guitar interplay of the Soft Boys.  They’re a unit built around the core propulsion of a breeder reactor, but could only be riveted tighter if they rolled out of the Boeing factory.

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Cory Hanson has the preppy good looks of a Kennedy, and he came out in similar garb to what he was wearing last year when he and Burrows – for a few months putting Wand aside — toured as part of Ty Segall’s Muggers.  Since then, Hanson’s released a solo album as distant from Wand in it’s delicate sound as fellow Angeleno Shannon Lay’s Living Water is from her punk band Feels (also once produced by Ty Segall).  Taking a vacation from the thunder of Wand’s first two albums, and the ambitious prog-pop of their third outing 1000 Days was clearly good for the band, as were the additions of the two new members.

Wand 2017-6

Wand is at the height of their powers, but writing that we know they still have plenty of room to grow.  Some strong albums have been released this year by both Ty Segall and West Coast giant John Dwyer, whose Oh Sees made our August.  But among the West Coast’s finest, Wand’s come out on top, the best young band working today.  We stand back in awe at the prospect of what they’re capable of.

On “Orc,” Thee Oh Sees’ 19th Album, John Dwyer Makes A Statement

Posted in Music with tags , , , , , , on August 30, 2017 by johnbuckley100

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Orc is, if you can believe it, Thee Oh Sees’ 19th album.  Though it’s their first album under the name “Oh Sees.”  Whatever this is, however you count it or categorize it, John Dwyer has by now built such a confounding, amazing, gorgeous, pulverizing body of work there should be a monument to him just outside the Temple of Real Rock’n’Roll.

Less than four years ago Santa put a lumpa coal in our Christmas stocking with the news that Thee Oh Sees were breaking up.  It was particularly disheartening because the gang at Tulip Frenzy had just voted Floating Coffin the #2 album on that year’s Top Ten List (c). Lo those many years ago, we wrote, “You have no idea what Thee Oh Sees are going to come out with next!  A No Wave rock opera.  Speed-metal yodeling.  Eddy Cochran backed by zithers. We are completely serious: this is a band that through sheer dint of trying proves every mother’s maxim that if only little Johnny puts his mind to it, he can do anything.  If little Johnny is John Dwyer, the answer is yes, yes he can.  And you would be well advised to catch up.”  Have to say it, that was good advice then, and now.

If John Dwyer had thrown in the towel then, he would have assumed his rightful place in history; that here we are, four years and five albums later, and his replacement unit from the Oh Sees classic of the early part of this decade has now fused into nothing less than a machine and you can see why we are so thrilled that Orc has joined the party.

PsychfestOhsees2

Here’s all you need to really know, if you are not someone whose large ganglia have twitched to Dwyer’s yips and the propulsive drumming of his 100-horsepower twin tyros lashed to the back of his guitar work.  The big question about punk rock was always what it would turn into when the primitives learned to play.  You know, not every band could be the Clash and by Sandinista be playing Mose Allison covers and pushing at the forefront of what was then called rap.  But at least three recs ago, Dwyer showed he could play guitar like Jimi Hendrix.  That he could compose complex rock songs with a power and beauty that rivaled anyone who’s ever admitted to participating in the genre.  That he seriously could, on the same album, mix punk, prog rock, garage, psychedelia, and pop.

Last year, on the matched pair albums of An Odd Entrances and A Weird Exits we really could see adding jazz and Krautrock to that list. He is the magpie’s magpie, but that implies a lack of originality and in fact he’s the opposite.  A guy who as recently as 2011 was playing punk rock at high speeds is now capable of anything.  Here’s an example: on Orc‘s “Keys To The Castle,” we start out on a light jog, John Dwyer singing harmony with (we hope) once + future Oh Sees singer Brigid Dawson, and ‘fore ya know it we’re traversing a steeper pitch with some classic punk chords as the song intensifies.  And there there is a pause… and we come back at slow mo’ speed with cello and organ and synth, in a lovely electric piano chordal half-walk, the sounds of space wrapping your face, and for the next four minutes, you are in a dream.

We’d say he does that on every song, but in fact, “Keys To The Castle” is both a standout and also, if you’ve been paying attention, just exactly what we’ve come to expect from the impossible-to-pin-down Mr. Dwyer and his morphing set of musicians and band names.

For the past six or seven years, we have lived in a Golden Age of Rock’n’Roll due to the presence of John Dwyer, Ty Segall, and White Fence’s Tim Presley.  If the advance word on Wand’s new rec is right, add Cory Hanson to the list of West Coast genies making life worth living.  John Dwyer’s band(s) have pushed forward a 60+-year old genre in part by reconciling all its best pieces.  On Orc, he makes a statement.

And did we mention that just yesterday came word that Thee Oh Sees’ 20th album will be released in… November.  It is said to be coming out under the band’s original name, OCS, and will be “pretty, pastoral, folky, with string arrangements by Heather Locke and brass arrangements by Mikal Cronin.”  We cannot fucking wait.

Nashville Garage-Rock Tyro Ron Gallo’s “Heavy Meta” Just Stove Our Brains In

Posted in Music with tags , , , , , on February 26, 2017 by johnbuckley100

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From the album cover of Heavy Meta, you’d think Ron Gallo was getting ready to audition for The Jimi Hendrix Experience, what with the white guy’s Afro and all.  And that’s not a bad place to set certain coordinates — we’d love to hear him play “Hey Joe,” because he’s a solid singer and an ace lead guitarist.  Trust us when we say, we haven’t gotten so knocked over by discovering a new tyro of real rock’n’roll since we first heard Ty Segall’s Goodbye Bread.

Not to be confused with the ’70s paparazzi of the same name, Ron Gallo had us before we ever heard this incredible album.  See, in the new Uncut, which gives him the treatment he deserves — interview, record review, even a spot on their monthly featured songs — he identified Robert Quine as his musical inspiration.  That’s an excellent place to begin, and in fact, “Put The Kids To Bed” sounds a lot like Quine’s playing with Richard Hell and the Voidoids, while “Don’t Mind The Lion” could be a Lloyd Cole song with Quine playing lead.  But even though Gallo has many easy reference points — his voice can quaver like Devendra Banhart, various songs resemble what we imagine Damon McMahon’s punk projects separate from Amen Dunes sound like, and he’s enough of a classicist that on “Black Market Eyes,” the guitar figures quote at length from Small Faces’ “Flying”– this is an original, powerful artist with a crack three-piece and an album well-enough produced we know it won’t languish in the up’n’comer pile for long.

We can imagine others referencing in the same sentence Brendan Benson, The Cramps, maybe even Roky Erickson.  But let’s give Ron Gallo credit where it’s due: he has on “Heavy Meta” just launched headlong into the center of the rock’n’roll universe, with an album that anyone who loves Ty Segall, Thee Oh Sees, or even Jack White will immediately respond to.  Filled with energy and brains, this record is going to dominate the early innings of 2017, and we know we will be listening to this 29-year old phenom for years to come.

Opening for Hurray For The Riff Raff at the 930 Club in DC on April 23rd.  See you there.

Ty Segall Revives The Lost Art Of The Album

Posted in Music with tags on February 5, 2017 by johnbuckley100

ba75464c379f3e3f975c0a94673e6f59Just when you think Ty Segall is mortal, he astounds you all over again.  We didn’t love Emotional Mugger when it came out a year ago, though we admired its conceptual breadth. But with the eponymous Ty Segall, the West Coast wunderkind has done more than release the best album of an intense, hugely productive career.  He has revived the album format, which has been under assault since the dawn of MP3s.

Sticky FingersImperial Bedroom, even — especially? — Sandinista were all exemplars of that long lost artform, the pacing of an album as a collection of disparate songs, showcasing different idioms and genres, all adding up to a defining whole.  Last year’s Emotional Mugger was a concept album, a series of connected songs, but the music didn’t really gel.  Or at least it wasn’t a collection of songs I much wanted to listen to a lot.

On Ty Segall, the young genius has pulled together a collection of songs that are remarkably different from one another, but they don’t pull apart, they spin with centripetal force.  The most astonishing song of the lot is the 10:21 suite, “Warm Hands (Freedom Returned)”, which in five movements takes in the whole of Segall protege Wand’s prog, the Santana-influences of the Stones’ “Can’t You Hear Me Knocking,” and two or three of Mr. Segall and his pal Mikal Cronin’s modern Power Pop’n’Punk flavorings.  It’s a tour de force.  But the whole album is, really.

Since Segall’s advent at the beginning of this decade, rock’n’roll has been revived, and he’s the biggest reason.  Yes, we would still have Thee Oh Sees if Ty had not burst upon the scene.  But for at least seven years, Segall’s influence on other artists, and his own great output of self-produced, largely self-created records has added up to a movement.  He’s Shiva, creator and destroyer, making rock’n’roll relevant again.  With Manipulator a couple years back, he seemed to cast his lot with commercial success, and produced one of the catchiest collections of radio rock this side of the White Stripes or the Black Keys.  With Ty Segall, he’s gone for some thing bigger.  An *album* you mention in the same sentence as Sticky Fingers, Imperial Bedroom, even Sandinista.

Ty Segall-Produced Debut By Feels Is Our Summer Playlist

Posted in Uncategorized with tags , , , on July 3, 2016 by johnbuckley100

It must be so much fun to be Ty Segall, to release album after album of high quality fuzz- toned garage rock and the occasional masterpiece (Twins, Manipulator.)  But even if we’re not really grokking on Gogg, his new part-time band with the Swedish backslash through the O, we can only marvel at what a great record he produced by young L.A. band Feels.  While released a few months ago, it only came to our attention as the air grew warm, but has now completely melted over our music player’s hard drive.  Nothing else can stick, because Feels has claimed it, and our ears, and our heart.

This isn’t the first time an incredible young band has been brought to the world, essentially, through the agency of Mr. Segall.  Wand was such a band two years ago, and they’ve now fought their way into the same sentence with Ty, White Fence, and Thee Oh Sees.  Feels is a four-piece fronted by Laena Geronimo, and when you hear them roar on their eponymous debut, the mind starts gathering links to bands as disparate as Hole and 8 Eyed Spy.  Feels is notable for how perfectly the drums are tuned, how hollow is the distortion on the guitar, the great harmonies, the way songs can go off on tangents and come galloping home like a filly that remembered something.

On “Close My Eyes,” we hear echoes of Ty’s own best work — it has hooks a stevedore would struggle to lift, which is one reason it has, for weeks now, hung from the tippy top of my brains.  There is no respite from the tuneful sludge when they head into “Slippin’,” which just as soon as it seems is going to get stuck in the grunge, springs free with a kick and a  “whoo hoo” as infectious as a Brazilian bug bite.  Every so often, when the riff-making seems heavy, they break into a double-time trot that would make Exene and John Doe smile.  And if you don’t believe me, go listen to “Tell Me,” the summer’s catchiest song.

So, it is good to be Ty, who appears to be having the time of his life, playing with whomever he chooses, whenever he wants.  But every once in a while, when a band like Feels gets introduced to the world through his auspices, we are reminded what a force for good he is, how generous he can be, and why this decade is, past the mid-point, shaping up musically as stronger than even the ’90s.

Ty Segall’s 9:30 Club Show And The Triumph Of Willful Perversity

Posted in Uncategorized with tags , , , on February 26, 2016 by johnbuckley100

Ty 2016 TFrenzy

It’s a little perverse when a brilliant musician, whose typically raw but highly polished albums feature him playing every single instrument, turns over the playing to a band of aces.  At this point in his career, though, Ty Segall knows exactly what he’s doing: his perversity is willful.

Ty is a once-in-a-generation inspiration, a revivalist of real rock’n’roll who has an impact on the entire West Coast punk rock environment, but he’s a primitive, right, so it’s okay if we don’t delve too deeply into the meaning of his baby’n’umbilical-chord persona with which he came out flogging his new album, Emotional Mugger.  It’s okay if we don’t accord him the depth of a Bowie, or even a Stephen Colbert, when he abandons the guitar and instead plays a character on the album and stage.  Let’s take this at the level at which we have always viewed him: pure rock’n’roll power, a character like Iggy Pop is a character, not on the level of Ziggy Stardust.

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The Muggers picked our pockets and left us bowled over on the floor, with Evan Burrows of Wand creating his own little breeder reactor on the drum kit, his fellow bandmate Cory Hanson filling in on synth and guitar, and King Tuff, looking like he’d just stepped off of a Captain Beefheart and the Magic Band photo shoot, laying down the leads that heretofore Charles Moothart (whose CFM was an amazing opening act), or Ty himself would have played.  Not having to play guitar left Segall able to tiptoe to the edge of the crowd, inspiring all manner of surfers, including one girl who safely was carried back to the sound booth, returning to the stage with a game face and no doubt minor bruises.

Ty 2016 TFrenzy-3The last time Ty hit the 9:30 Club stage, he was touring behind his most commercial album ever, Manipulator, which had Black Keys hooks with a sharkskin sheen.  Emotional Mugger is at once as ambitious as Manipulator but also deliberately repellant and obscure, but live — and with this stellar band backing him, baby head and all — the tornado force of the music was nothing less than fun.

Ty 2016 TFrenzy-6We don’t really pretend to know why, midway through the set, he went back into character with the baby head and all, just that by the time he played “Candy Sam,”the crowd would have followed him to pillage all the chocolate shops on U Street.

Ty 2016-2When he’d completed the full rendition of Emotional Mugger and we heard the familiar chords of “Thank God For Sinners” from Twins, still his best album, it was great to have him shed the mask, ditch the character, and get back to Ty Segall, the tyro of his age.  “Manipulator” and “Feel” from his last real album were a reminder of what this guy can do, especially when a drummer like Evan Burrows is banging a gong.  In this miserable political year we’ve witnessed one guy with blonde hair get crowds to respond to his manipulations in an ugly manner.  Great it was last night to see another guy with blonde hair whip a crowd into a frenzy with the benignity of the cathartic arts.

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