When I first heard this track, Peter was releasing the album out of his apartment in Brooklyn. My imagination went crazy with a variety of visual ideas to the lyrics. Monday will mark the fourth time I've seen the guys live in less than a year's time and each experience uncovers another layer of emotion and beauty. The Antlers as a trio have truly transformed this isolated tale of misery into this invigorating vigil.
Showing posts with label The Antlers. Show all posts
Showing posts with label The Antlers. Show all posts
Friday, February 12, 2010
The Antlers Fuel my Excitement for Monday with a Visual Interpretation of "Bear"
When I first heard this track, Peter was releasing the album out of his apartment in Brooklyn. My imagination went crazy with a variety of visual ideas to the lyrics. Monday will mark the fourth time I've seen the guys live in less than a year's time and each experience uncovers another layer of emotion and beauty. The Antlers as a trio have truly transformed this isolated tale of misery into this invigorating vigil.
Friday, October 30, 2009
The Antlers on Daytrotter: A Ray of Light on this Rainy Day
As the boys of The Antlers make their trek through the West Coast and California before heading out to Europe; our friends at Daytrotter released their session today for our listening pleasure. It has been an awesome year for the trio as I suspect Hospice will land very high on many people's yearly top list of albums. I have had the pleasure of seeing them perform live three times this year at Pitchfork, Monolith and on their own tour. Not to mention, the opportunity to interview them early on. They are such a great bunch of guys who I have enjoyed getting to know better and deserve all the success they've had thus far. If you haven't had the chance you better jump on the wagon. I have been anticipating this since Michael mentioned their session to me back in July.Sunday, September 13, 2009
Monolith Festival: Day 1
The Antlers-WOXY
After what seemed like the longest ten minutes, The Antlers step onto stage comically requesting everyone to watch their language. Melodically commencing with “Bear” Peter softly delivers the opening lines. Swaying back and forth, leading up to Michael’s drums kicking in. Peter’s octave rises along with the band’s intensity. The crowd continues to grow in the tight and compact space where the WOXY stage is situated. Darby’s hair hangs over his eyes, while Peter is on his knees as they transition into the first song’s big ending. Silence is upon us, while Peter switches out his guitar and makes some “Thank Yous”. Drum count, hard smash, Peter hunched, everyone is bouncing to Michael’s tribal beat, distortion rings. Peter leads us into the chorus of “Sylvia”. Touring has already matured their sound since Pitchfork, bringing a darker edge to the music’s tonality. Tempo is high, drums bring a more distinctive quality to the sound. Peter screeching, Sylvia!!! in his last gasp of breath, obvious how emotionally important the subject matter is to him. He softly thanks us before the cymbals crash right into “Kettering”, his guitar play seems looser and more comfortable. The mics break up and the music stops on the crunchy sounding dispense of lyrics.
They restart from the beginning, Peter dances and bounces facing the drum set before he elevates his voice to the next octave. In between songs, Michael graciously mentions how the crowd was definitely worth the 30-hour cross-country drive from New York, Peter follows up with another affable thanks. “Two” begins off with the band leading in with hoots into those familiar first lines “In the middle of the night I was sleeping sitting up..” There really has been a re energization of the context in these songs, creating an overall happier sensation. Tempo rises and the crowd sways and dances. Tempo rises and the crowd sways and dances, before heads are banging and strong playing resumes. The hoots and moans return before Peter strums to a muted end. Silence falls upon us and Peter’s “Epilogue” begins. A more stylistic direction of the set brings this on the whole, celebratory context. The muted instrumentation spotlight Peter’s vocal symphony. Warming feeling rising with the volume. Darby commences the processional hymn, Peter stands in reflection. Michael punches his drums hard, Peter’s shreds return and it becomes a punchy dance to lead us out.
Thao and the Get Down Stay Down- Esurance Stage
The band nonchalantly walks onto stage, welcomed by fans and a steady breeze running through the mountains. Thao Nguyen shakes off her shivers and they begin to play. I was curious to see their stage presence not knowing too much about the band or their sound prior to this weekend. The was comprised primarily of tracks off their most recent album, We Brave Bee Stings and All and few teasers from the upcoming album, Know Better Learn Faster. Only taking up a small portion of the stage but created excitement in the crowd with enjoyable tunes and toe tapping beats. Thao thanks us before commencing a human beat box intro, while plucking at her strings into “Bag of Hammers”. Attracting seemingly a fairly young crowd dancing and shaking around with the band’s joyful folk tinged melodies. In between songs, she tells us of a fond memory of hers at Red Rocks. She had come to see Neil Young at an early age but unfortunately couldn’t remember much of the experience because of the abundance of “whatever” she had smoked. From the new songs they played during their set there was a nice hard beat and an up and down tempo exhibiting a variety of musical influences in its sound. It lead her right into the crowd favorite “Beat” Nguyen sings with a jazzercise standstill dance strumming away. The drummer, Willis Thompson begins to lead the crowd to clap into a clapping chorus. Her sweet raspy delivers each line as a nice harmony of instrumentation with a heavy steady pound on the drums accompanies her. She hoots along as she plays, leading the claps again; apparently a staple in their music. At some point all band members including Nguyen, pull out their drumsticks and start a drum jam, beating at the skins. A faint yelp from Thao is heard and she returns to her guitar. There is a hint of an oriental infusion in the melody that pleasantly compliments the style and aesthetic of their music. Overall, it was a nicely laid out set, playing well to the crowd and exhibiting a brilliant range of sound and emotion.
Frightened Rabbit- Esurance Stage
The crowd begins to file in, as there is a drizzle of rain in the sky. We stand waiting for Scott Hutchinson and crew to finally arrive on stage thanking everyone for their presence. Excited to see another performance since their stint in Chicago for the Pitchfork Festival. “Modern Leper” begins the set with high tempo and comfort ability as Scott easily unravels his emotional aftertaste from a past heartbreak. As the play gets louder, the crowd continues to get larger. “The altitude already has me woozy and I’ve only had one beer”, jokes Hutchinson in that same humorous stage commentary I recall from their previous performance I witnessed. The lyrics he fervently belched reverberates up along the rocks as his heart is laid out on display once again. “Is the rain finished…Fuck It!!! exclaims Scott lightly strums us into “Good Arm vs. Bad Arm”. He screeches along while dancing back and forth with the mic stand, and the rest of the band finds a melody harmonizing with backup Ohs! At one point, he leans back towards the sky while strumming and bring the tempo back up screaming the chorus,” at arms length”. A decent turnout braves the chilly rain as the clouds darken the sky. Tempo raises and the drizzle becomes a steady rainfall. With a plan to split up the hour between Frightened Rabbit and The Pains of Being Pure at Heart, the final song in the set for me began with a misqueue, Scott quick apologizes as his set list just blew away and correcting the error, “Old, Old Fashion”. As I start my hike up the mountain of stairs to the SOCO stage, I see Scott in the distance raising his hands requesting the crowd to participate in the chorus. As I made my way towards the Pains stage, the crowd was sizeable and the energy from stage was as suspected super high tempo, playfully jamming to the rain. Unfortunately, the rain wasn’t in my cards at the moment and listened to their joyful wonderfulness from the distance of the media tent. I was definitely grateful I had the pleasure of enjoying their full set in Chicago earlier in the week.
Rain blew over the venue around the same time as my meeting with various bands to interview and photograph. It was fortuitous in a sense but at the same time, being hyped to finally see Cymbals Eat Guitars I had to unfortunately miss out as capacity was reached at the WOXY stage and the fire marshal did not allow any more entries. Shooting up to the SOCO stage hopefully to ignore the rain and check out The Walkmen who were in midst of the set. Although outside, the crowd was overwhelmingly large and I once again resorted to returning to the media tent, I enjoyed their set from a distance while having the opportunity to meet some really great bands in the process. During that time night fell upon us along with a steady rain.
At some point, I ventured back out into the evening’s sets as the sky continued to fall and a brisk wind blew through the Colorado mountains. Even from a distance the performance on the Esurance stage appeared different and as though a raving party had taken over it. In fact, the mish mash dj, Girl Talk had commenced his set and had invited a stage full of dancers who were getting down to his nasty mixes. The rain did nothing but fuel the energy emitting from and around the stage and in the crowd. Girl Talk’s Greg Gillis stood hunched over two laptops bouncing back and forth with a commanding presence. Admittedly at times I enjoy revisiting his albums on my ipod but in all honesty who wouldn’t mind tiny nostalgic clips of music from their youth. With that said, I’m not sure how seriously I can write about a non-performance act. In appearance I could not tell how much mixing was actually going on, more as steering a booze cruise on stage. I am not sure how long a musical phase like this can last, I guess I could always Wiki Moby and see how long his career lasted before the music scene moved on. If anything Gillis had a great authority on stage at times jumping atop the table dancing and directing the audience as confetti and toilet paper flew into the wet air. He played a nonstop set with countless snippets from his three-album catalog and the endless list of music hits. Rumor has it, he is moving the direction of his music into a more linear fashion that could drastically alter many of the popular facets of his music. If that’s the case I would be intrigued especially if the army of frats lost interest and returned to whatever trend band is looking for a sell out fan base.
This evening’s headliners were the ever so popular trio from Brooklyn,NY, the YeahYeahYeahs, who have definitely made their festival rounds this year. It seems as though the band have not stopped since the release of It’s Blitz, the band’s third album; which found them experimenting with their sound while retaining much of that edge that made them popular in the onset of their career. I was torn at this point, the rain had let up a little, as the stage was being prepared for the evening’s closer. Tiredness had set in and the knowledge of the amount of work still needed to accomplish when returning to the hotel was a looming factor when I made the final decision not to stay for the entire YYYs set. I did however make my way to the pit to enjoy the onset of the evening’s performance from as close as possible and hopefully some shots that would work out.
This evening’s headliners were the ever so popular trio from Brooklyn,NY, the YeahYeahYeahs, who have definitely made their festival rounds this year. It seems as though the band have not stopped since the release of It’s Blitz, the band’s third album; which found them experimenting with their sound while retaining much of that edge that made them popular in the onset of their career. I was torn at this point, the rain had let up a little, as the stage was being prepared for the evening’s closer. Tiredness had set in and the knowledge of the amount of work still needed to accomplish when returning to the hotel was a looming factor when I made the final decision not to stay for the entire YYYs set. I did however make my way to the pit to enjoy the onset of the evening’s performance from as close as possible and hopefully some shots that would work out.
In the dark mist the band arrives on stage, the familiar opening keys of “Runaway” begin the set as Karen O takes her position readied for what seems like a Hiawatha modern Geisha dance with a Michael Jackson like pink glove donned. There was a fourth member along for the ride, who after further investigation turned out to be the beautiful, Jessica Dobson from the LA band, Deep Sea Diver, who played bass and keyboards and is touring with the band during their popularized summer tour. The few songs played are a blur as I was more focused to capture the perfect image of Karen in all of her glory as her true performance side was naturally emitted as she serenaded us through a nice mix from their album catalog thus far. Just as I remember from their earlier performance in May in the onset of their tour there was still a commanding force in the cohesiveness of their musical skill as fans were beyond excited to just catch a glimpse and sing along with the former art school rockers. I turned one last time to take in the excitement and originality coming off stage before my final hike up those steep stairs to exit and prepare for the following day.
Friday, September 11, 2009
Interview: The Antlers
The Antlers, originally a solo act moniker for creator, Peter Siberling is now a trio of multi-talented most down to earth guys, breathing a celebratory life into subject matter that on paper seemed very dreary and sorrowful. I had the pleasure to meet the guys when they came through Chicago for the Pitchfork Music Festival. Hot on the official release of their album, Hospice, I will reunite with them at Red Rocks for the Monolith Festival. Lucky for me, then once more on The Antlers' first official tour next week when they return to Chicago. In all this time, I have been able to coordinate with the three via email an interview in hopes to get to know the guys better and unveil some of the thoughts behind Hospice, easily one of my top 5 albums of the year.
Drawing From Music: In the past when you toured did you have instrumentalists accompanying you? Now with the addition of Michael Lerner and Darby Cicci, will the creative processes change with future albums, or will this be a ship that you will continue to primarily steer?
Peter Siberling: We actually never toured until we were a three piece. When I was starting out, I played shows by myself for about a year and a half, but that was a long time ago, playing very, very different songs. The creative process seems to be changing every day, and I think it’s safe to say that all of us playing and touring together is moving things in a much more collaborative direction.
DFM: What I have been drawn to with your music is how it has always felt like it was a journey to an alter reality. How is it you hope for your listeners to interpret your music? Is there a certain emotion or personal idea that you hope will resonate with them?
PS: That’s a pretty ideal reaction. My favorite music is the kind that takes me out of reality, where I don’t hear people in a studio, but music that brings you into some sonic universe that’s not your own. But that’s not just a sound and atmosphere thing. I think lyrics can work with that to create some new world within the span of 4 minutes or 50 minutes or 5 hours. I think the point of Hospice is some sort of interconnectivity, being brought into someone’s very specific set of experiences, into their head and their world and somehow feel as though it’s your own.
DFM: I think as an artist myself; my aim has always been to keep a narrative quality in my paintings. I read this was a characteristic you enjoy to retain in your music. Can you tell me a little about your writing process? How do you decide what your albums’ focus is going to be on?
PS: So far, every album’s been the result of obsession over some idea or story or set of stories. Once that obsession starts, the idea for the album as a whole arrives, then the songs and sound are sort of built around that overriding plan. That idea comes from different places- sometimes it’s out of nowhere, other times it’s pulled out of personal experience. Hospice was the latter.
DFM: Were there real life situations that brought you to this introspective investigation of the institution of a hospice? How autobiographical are some the situations experienced in the album?
PS: It’s creative memoir. I won’t go into what’s autobiographical and what’s pulled from other ideas, but Hospice has been the equivalent of telling thousands of people too much about yourself and repeatedly stopping mid-sentence. It’s been a weird thing to wrap my head around.
DFM: What is the importance of Sylvia Plath to Hospice? Was she part of the initial obsessions for this album? How is it you relate with her as an artist?
PS: Sylvia in Hospice is sort of a composite of several Sylvias- a few fictional and a few non-fictional. Her story and personality definitely played a major role in the writing of this album, but only insofar as I found a whole mess of parallels between her and someone I knew personally. I wouldn't say I relate to her myself, but in a way I sometimes feel as though I knew her.
DFM: Michael and Darby If one were to run a background check on you what would they learn?
Michael Lerner: As a young man, my hair was longer than Darby's
Darby Cicci: They would probably find a lot of old theater photos. I used to be an actor for a long time and I’ve been in a ton of plays. You also might find a record I made called “Minus Green”. If you’re lucky maybe even “Darby’s Iguana Page”, from the early days of the internet.
DFM: Do you let current news related issues affect your creative/writing processes with your music?
PS: I tend to keep up with what’s going on pretty well, with the exception of when we’re touring and we’re in dreamland. But I tend to avoid putting politics and current events into songs...I don’t yet know how to write a political song without being uninformed and obnoxious.
ML: I think that outside forces in the world inevitably shape one's mindset –usually subconsciously. But no, the news doesn't really come into play for me. In fact, I actually try and keep clear of the news for the most part these days and focus on more positive things.
DC: News and issues and everything definitely affects our lives. Writing is really just a response to how we deal with our lives in a weird way so pretty much everything influences us creatively.
DFM:What are your roots as musicians? How did it come to be that The Antlers exists? Who were some oft the musical influences that aided in the molding of the musicians you are today?
PS: I grew up playing guitar, borrowing my dad’s amps and pedals, learning to play from him and eventually another teacher. I’d played in a band for much of my growing up- we set up a practice and recording space in a barn and spent all summer every summer there, writing songs and swinging pillows at bats that threatened to interrupt. That band dissolved toward the end of high school (we’d been playing together since the age of eleven) and I don’t think any of us knew what to do with ourselves when it was finished. Not long after, I started recording by myself for the first time. From then on, I recorded albums and EPs constantly until the end of recording Hospice, when I took a break. This recording project became The Antlers when I moved to NYC in 2006, and became a band some time between 2007 and the end of 2008.
ML: I've been playing drums since I was six years old and have played in a lotof bands. I met Peter when he decided to branch out from a solo act to a full band. I was looking for a new band at the time. When I first heard him sing,
I knew that I wanted to work with him. One of my biggest influences was ateacher of mine named Yusef Lateef. He helped me understand the importance of musical dialogue and interplay with other musicians. Buddy Rich, Tony Williams and Elvin Jones were also huge drumming influences for me.
DC: I grew up playing trumpet and playing a lot of jazz. Then a lot of blues, then I quit playing music for awhile and then got into writing songs, and then got really obsessed with music and started playing everything. Then I got into electronic music and became obsessed with synthesizers, electronics, and building and repairing equipment. I met Peter right before the electronics obsession and played trumpet and bowed banjo for a long time when we made Hospice. We all listen to a bunch of things...a lot of indie rock, but almost more than that, a lot of sort of epic post-rock, electronic music, dub, soul, jazz, folk, etc etc etc.
DFM: The layers and styles that are emitted in your music seem endless. Who were some of your biggest influences at an early age and how have they changed through the years?
PS: I was raised on The Beatles & Hendrix, and when I was very young found a lot of terrible music to listen to on my own. But I was really into Nirvana and Smashing Pumpkins as well. Getting into Radiohead and indie rock when I was in my early teens changed things for sure, then getting into trip hop and more emotionally raw indie rock in my late teens and early 20s put things on a slightly different path.
ML: When I was younger, rock bands like Led Zeppelin were a big part of my formative years musically. When I was in college I got into jazz which changed my approach to drumming. I began to explore more subtle nuances in my playing and I began to try and approach my instrument with an ear towards its musicality and not just as a rhythmic component. When I was younger, rock bands like Led Zeppelin were a big part of myformative years musically. When I was in college I got into jazz which changed my approach to drumming. I began to explore more subtle nuances in my playing and I began to try and approach my instrument with an ear towards its musicality and not just as a rhythmic component.
DC: Elliott Smith, Howlin Wolf, John Vanderslice, and Jonny Greenwood. Now’s is Moderat and a bunch of electronic music, dub, noise, and about ten thousand other records.
DFM: I’m not sure if this seems repetitive but what would you say is the constant idea or themes you try to address in your music?
PS: Depends on the song or the album, really. Hospice is about something different than the EPs that precede it (New York Hospitals is along the same lines, but nothing beforehand is). If there’s any common thread in all things Antlers, it’s probably some sort of understanding about being alive.
ML: I am interested in playing with intensity regardless of the dynamics. I am also trying to balance precision with a certain quality of looseness. Overall, providing a song with the right feel is very important to me.
DC: No not really. I think if you start with an idea, the piece of music or song or whatever will always be better as just an idea. It’s better to just write instinctively and then streamline or sound design it later.
DFM: How much do you think being signed to a label will change the future albums from the Antlers? Do you think part of the fun is the DIY aspect of the process or will the added facility allow more room for creative experimentation?
PS: It’s really nice to finally be handing over responsibility to other people. We were doing absolutely everything ourselves for a long time, and it was completely worthwhile, but now we’re touring a lot and are happy to have people helping in such a major way. Now we get a chance to really focus on making music, which is ultimately the most important thing in all of this. I think being with Frenchkiss is going to give us the breathing room we need to make our next record.
DFM: It may be a question you have answered a lot but I’m not sure I’ve ever read it anywhere, but how did you come up with the name The Antlers?
PS:It’s a mystery! To myself, even.
DFM: Are there any new bands or music that you’re listening to? Any bands you are looking forward to see in your upcoming shows?
PS: I think everyone ought to hear Son Lux’s record. It came out last year, I believe, but it’s new to me and incredible. I’m really looking forward to seeing Flaming Lips at Pitchfork. I haven’t seen them since 2003, and that was possibly the best show I’ve ever seen.
ML: The records I've been listening to the most lately far and away are Grizzly Bear's Veckatimest & Dirty Projectors's Bitte Orca. Both albums have gotten a ridiculous amount of plays on my ipod. Off the top of my head, for upcoming shows , I am looking forward to seeing The Books, Phoenix, Ida Maria and Cymbals Eat Guitars.
DC: The new Broadcast, Flaming Lips and Fuck Buttons records are all pretty sick. Interested in seeing Sleepy Sun and also Wild Beasts. And we’re touring with Minus the Bear and Twin Tigers so pretty excited to see them.
DFM: If there were any character in history from any media (TV, literature, comics, etal.) that you would best liken yourself to who would it be? Why?
PS: Maybe Kevin Arnold from The Wonder Years. I don’t necessarily know how similar we are, but I just think he’s a really interesting character. I noticed recently that he barely says anything unless his older self is narrating, but his facial expressions speak louder than anything else.
ML: Jay Gatsby. A long time ago, my friends Johanna and Nora gave me that nick-name. I think it had something to do with the way I act at social gatherings.
DC: My personal idol is Thomas Edison. I’m nothing like him though.
DFM: And finally, aside from music what would you say are some personal outlets for you?
PS: Lately I’ve been writing stories. I guess it’s not all that different from writing songs - still semi-autobiographical, but it doesn’t feel self-referential. I go in and out of phases with photography...right now I’m working on getting back into it.
ML: Surfing & Kayaking
DC: Art, graphic design, fixing broken equipment, good beer, cooking southern food. And I really like fishing when I’m home in Alabama.
Drawing From Music: In the past when you toured did you have instrumentalists accompanying you? Now with the addition of Michael Lerner and Darby Cicci, will the creative processes change with future albums, or will this be a ship that you will continue to primarily steer?
Peter Siberling: We actually never toured until we were a three piece. When I was starting out, I played shows by myself for about a year and a half, but that was a long time ago, playing very, very different songs. The creative process seems to be changing every day, and I think it’s safe to say that all of us playing and touring together is moving things in a much more collaborative direction.
DFM: What I have been drawn to with your music is how it has always felt like it was a journey to an alter reality. How is it you hope for your listeners to interpret your music? Is there a certain emotion or personal idea that you hope will resonate with them?
PS: That’s a pretty ideal reaction. My favorite music is the kind that takes me out of reality, where I don’t hear people in a studio, but music that brings you into some sonic universe that’s not your own. But that’s not just a sound and atmosphere thing. I think lyrics can work with that to create some new world within the span of 4 minutes or 50 minutes or 5 hours. I think the point of Hospice is some sort of interconnectivity, being brought into someone’s very specific set of experiences, into their head and their world and somehow feel as though it’s your own.
DFM: I think as an artist myself; my aim has always been to keep a narrative quality in my paintings. I read this was a characteristic you enjoy to retain in your music. Can you tell me a little about your writing process? How do you decide what your albums’ focus is going to be on?
PS: So far, every album’s been the result of obsession over some idea or story or set of stories. Once that obsession starts, the idea for the album as a whole arrives, then the songs and sound are sort of built around that overriding plan. That idea comes from different places- sometimes it’s out of nowhere, other times it’s pulled out of personal experience. Hospice was the latter.
DFM: Were there real life situations that brought you to this introspective investigation of the institution of a hospice? How autobiographical are some the situations experienced in the album?
PS: It’s creative memoir. I won’t go into what’s autobiographical and what’s pulled from other ideas, but Hospice has been the equivalent of telling thousands of people too much about yourself and repeatedly stopping mid-sentence. It’s been a weird thing to wrap my head around.
DFM: What is the importance of Sylvia Plath to Hospice? Was she part of the initial obsessions for this album? How is it you relate with her as an artist?
PS: Sylvia in Hospice is sort of a composite of several Sylvias- a few fictional and a few non-fictional. Her story and personality definitely played a major role in the writing of this album, but only insofar as I found a whole mess of parallels between her and someone I knew personally. I wouldn't say I relate to her myself, but in a way I sometimes feel as though I knew her.
DFM: Michael and Darby If one were to run a background check on you what would they learn?
Michael Lerner: As a young man, my hair was longer than Darby's
Darby Cicci: They would probably find a lot of old theater photos. I used to be an actor for a long time and I’ve been in a ton of plays. You also might find a record I made called “Minus Green”. If you’re lucky maybe even “Darby’s Iguana Page”, from the early days of the internet.
DFM: Do you let current news related issues affect your creative/writing processes with your music?
PS: I tend to keep up with what’s going on pretty well, with the exception of when we’re touring and we’re in dreamland. But I tend to avoid putting politics and current events into songs...I don’t yet know how to write a political song without being uninformed and obnoxious.
ML: I think that outside forces in the world inevitably shape one's mindset –usually subconsciously. But no, the news doesn't really come into play for me. In fact, I actually try and keep clear of the news for the most part these days and focus on more positive things.
DC: News and issues and everything definitely affects our lives. Writing is really just a response to how we deal with our lives in a weird way so pretty much everything influences us creatively.
DFM:What are your roots as musicians? How did it come to be that The Antlers exists? Who were some oft the musical influences that aided in the molding of the musicians you are today?
PS: I grew up playing guitar, borrowing my dad’s amps and pedals, learning to play from him and eventually another teacher. I’d played in a band for much of my growing up- we set up a practice and recording space in a barn and spent all summer every summer there, writing songs and swinging pillows at bats that threatened to interrupt. That band dissolved toward the end of high school (we’d been playing together since the age of eleven) and I don’t think any of us knew what to do with ourselves when it was finished. Not long after, I started recording by myself for the first time. From then on, I recorded albums and EPs constantly until the end of recording Hospice, when I took a break. This recording project became The Antlers when I moved to NYC in 2006, and became a band some time between 2007 and the end of 2008.
ML: I've been playing drums since I was six years old and have played in a lotof bands. I met Peter when he decided to branch out from a solo act to a full band. I was looking for a new band at the time. When I first heard him sing,
I knew that I wanted to work with him. One of my biggest influences was ateacher of mine named Yusef Lateef. He helped me understand the importance of musical dialogue and interplay with other musicians. Buddy Rich, Tony Williams and Elvin Jones were also huge drumming influences for me.
DC: I grew up playing trumpet and playing a lot of jazz. Then a lot of blues, then I quit playing music for awhile and then got into writing songs, and then got really obsessed with music and started playing everything. Then I got into electronic music and became obsessed with synthesizers, electronics, and building and repairing equipment. I met Peter right before the electronics obsession and played trumpet and bowed banjo for a long time when we made Hospice. We all listen to a bunch of things...a lot of indie rock, but almost more than that, a lot of sort of epic post-rock, electronic music, dub, soul, jazz, folk, etc etc etc.
DFM: The layers and styles that are emitted in your music seem endless. Who were some of your biggest influences at an early age and how have they changed through the years?
PS: I was raised on The Beatles & Hendrix, and when I was very young found a lot of terrible music to listen to on my own. But I was really into Nirvana and Smashing Pumpkins as well. Getting into Radiohead and indie rock when I was in my early teens changed things for sure, then getting into trip hop and more emotionally raw indie rock in my late teens and early 20s put things on a slightly different path.
ML: When I was younger, rock bands like Led Zeppelin were a big part of my formative years musically. When I was in college I got into jazz which changed my approach to drumming. I began to explore more subtle nuances in my playing and I began to try and approach my instrument with an ear towards its musicality and not just as a rhythmic component. When I was younger, rock bands like Led Zeppelin were a big part of myformative years musically. When I was in college I got into jazz which changed my approach to drumming. I began to explore more subtle nuances in my playing and I began to try and approach my instrument with an ear towards its musicality and not just as a rhythmic component.
DC: Elliott Smith, Howlin Wolf, John Vanderslice, and Jonny Greenwood. Now’s is Moderat and a bunch of electronic music, dub, noise, and about ten thousand other records.
DFM: I’m not sure if this seems repetitive but what would you say is the constant idea or themes you try to address in your music?
PS: Depends on the song or the album, really. Hospice is about something different than the EPs that precede it (New York Hospitals is along the same lines, but nothing beforehand is). If there’s any common thread in all things Antlers, it’s probably some sort of understanding about being alive.
ML: I am interested in playing with intensity regardless of the dynamics. I am also trying to balance precision with a certain quality of looseness. Overall, providing a song with the right feel is very important to me.
DC: No not really. I think if you start with an idea, the piece of music or song or whatever will always be better as just an idea. It’s better to just write instinctively and then streamline or sound design it later.
DFM: How much do you think being signed to a label will change the future albums from the Antlers? Do you think part of the fun is the DIY aspect of the process or will the added facility allow more room for creative experimentation?
PS: It’s really nice to finally be handing over responsibility to other people. We were doing absolutely everything ourselves for a long time, and it was completely worthwhile, but now we’re touring a lot and are happy to have people helping in such a major way. Now we get a chance to really focus on making music, which is ultimately the most important thing in all of this. I think being with Frenchkiss is going to give us the breathing room we need to make our next record.
DFM: It may be a question you have answered a lot but I’m not sure I’ve ever read it anywhere, but how did you come up with the name The Antlers?
PS:It’s a mystery! To myself, even.
DFM: Are there any new bands or music that you’re listening to? Any bands you are looking forward to see in your upcoming shows?
PS: I think everyone ought to hear Son Lux’s record. It came out last year, I believe, but it’s new to me and incredible. I’m really looking forward to seeing Flaming Lips at Pitchfork. I haven’t seen them since 2003, and that was possibly the best show I’ve ever seen.
ML: The records I've been listening to the most lately far and away are Grizzly Bear's Veckatimest & Dirty Projectors's Bitte Orca. Both albums have gotten a ridiculous amount of plays on my ipod. Off the top of my head, for upcoming shows , I am looking forward to seeing The Books, Phoenix, Ida Maria and Cymbals Eat Guitars.
DC: The new Broadcast, Flaming Lips and Fuck Buttons records are all pretty sick. Interested in seeing Sleepy Sun and also Wild Beasts. And we’re touring with Minus the Bear and Twin Tigers so pretty excited to see them.
DFM: If there were any character in history from any media (TV, literature, comics, etal.) that you would best liken yourself to who would it be? Why?
PS: Maybe Kevin Arnold from The Wonder Years. I don’t necessarily know how similar we are, but I just think he’s a really interesting character. I noticed recently that he barely says anything unless his older self is narrating, but his facial expressions speak louder than anything else.
ML: Jay Gatsby. A long time ago, my friends Johanna and Nora gave me that nick-name. I think it had something to do with the way I act at social gatherings.
DC: My personal idol is Thomas Edison. I’m nothing like him though.
DFM: And finally, aside from music what would you say are some personal outlets for you?
PS: Lately I’ve been writing stories. I guess it’s not all that different from writing songs - still semi-autobiographical, but it doesn’t feel self-referential. I go in and out of phases with photography...right now I’m working on getting back into it.
ML: Surfing & Kayaking
DC: Art, graphic design, fixing broken equipment, good beer, cooking southern food. And I really like fishing when I’m home in Alabama.
Saturday, September 5, 2009
Monolith Festival-2009
In a weeks time, a portion of the music scene will make its way to the Red Rocks Amphitheater, in Morrison, CO for their annual fare Monolith Festival. A wide range of bands who have made their appearance in this summer's tour of festivals while others hope to break ground on their emerging musical careers. I am making the trek out West to catch up with bands missed at Pitchfork and to check out some of the bands that have blown out my earbuds all summer long. In the upcoming week, I will be featuring band spotlights, a live review of festival bands who will play in Chicago on their way out West and an interview with Peter Siberling from The Antlers. If you're curious of some of this year's performers check out below for more information. It is looking to be a fun and busy weekend.
*If for some reason you're actually attending, these may be of more help to you.
Tuesday, September 1, 2009
The Antlers-Hospice
Hospice marks the first wide release by the band as a newly formed trio; everything prior was the solo work of Peter Siberling under the moniker of The Antlers. The material throughout is all the brainchild of Siberling’s constant desire to deconstruct an idea and rebuild it in a multi-layered introspective narrative. This story translates the death house of a hospice into a celebration of agony and the hopeful relief from that pain in the end. The additions of Michael Lerner and Darby Cicci has intensified an already existing depth of sound in this young band’s music while introducing a higher tempo that matches Peter’s painful screams which exhibit a brutal honesty in emotion and a certain reality relatable to its listeners. The album breaks down the loosely translated album title and the various embodiments one could consider a hospice as their everyday cage. Suicides, abortions, deteriorating relationships, and of course death are some of the conversions that not only emotionally break down our personal beliefs but build up a separate uplifting perspective of what is usually considered a depressing and cynical concept. The album is structured similar to a novel with a beginning, middle and end. It imaginatively transports the listener into an alter-reality role initially dealing with the aspect of an upcoming ending, whether in life or love wallowing in self-pity and agonizing on the mysteries that lie ahead.
The album’s first single, “Bear” from the self-release is a turning point for the album as acceptance begins to set in, and hints of optimism appear along with a celebratory stance of the past uplifts the overall tonality in the album. Although the subject matter retains its dreary disposition the music exposes the consented theory that moving on is the best resolution for something so painful and cancerous. Singer, Sharon Von Etten enhances the ghostly eeriness of Hospice with her distant vocals demonstrate the actual presence of death in the situation. The on the whole ambiguity of the album only strengthens it constantly translated concept as each listener can put forth his/her personal interpretations of the bleak situations expressively recreated in a spine tingling manner. By the conclusion of the album the pain and hurt have completely set in and an overall numbness takes over the emotional pressures as one is spiritually prepared to move forward into the mysterious abyss of what lies ahead. In “Epilogue” the final track, is an out of body experience moving us away from the dying entity and memorializing ourselves and the past that brought us to this point. In its creepy, unnerving instrumentation that concludes the track, a warming sensation overtakes our senses creating a musical nirvana of the massive amounts of emotion necessary to create such an epic saga. Reflection is the key to self-growth and realizations of our mistakes in life are what make us stronger.
The album’s first single, “Bear” from the self-release is a turning point for the album as acceptance begins to set in, and hints of optimism appear along with a celebratory stance of the past uplifts the overall tonality in the album. Although the subject matter retains its dreary disposition the music exposes the consented theory that moving on is the best resolution for something so painful and cancerous. Singer, Sharon Von Etten enhances the ghostly eeriness of Hospice with her distant vocals demonstrate the actual presence of death in the situation. The on the whole ambiguity of the album only strengthens it constantly translated concept as each listener can put forth his/her personal interpretations of the bleak situations expressively recreated in a spine tingling manner. By the conclusion of the album the pain and hurt have completely set in and an overall numbness takes over the emotional pressures as one is spiritually prepared to move forward into the mysterious abyss of what lies ahead. In “Epilogue” the final track, is an out of body experience moving us away from the dying entity and memorializing ourselves and the past that brought us to this point. In its creepy, unnerving instrumentation that concludes the track, a warming sensation overtakes our senses creating a musical nirvana of the massive amounts of emotion necessary to create such an epic saga. Reflection is the key to self-growth and realizations of our mistakes in life are what make us stronger.
Sunday, July 26, 2009
Pitchfork 2009 Recap
It has been seven days since the Flaming Lips concluded the three-day event at Union Park, and I cant even begin to explain the week that has occurred since its conclusion. It was a weekend of difficult deadlines and sporadic tastes of wonderful live music. The weather varied from a steady drizzle at times to breezy, sunny days and no one can forget the mild temperatures in the evening begging for a hoodie. As usual this did not deter the endless amounts of hipsters and (enter stereotypical label here) who made the daily trek to this otherwise quieted park in the West West loop, taking refuge with their new favorite peculiar sounding bands. My studio is literally 3 blocks away so it almost felt as though I was walking through my backyard to see the plethora of bands that are now regulars on my daily play lists. With an unbelievable opportunity falling in my lap literally the evening prior to the onset of Pitchfork I had to reevaluate my plans, making sure I got to see the priorities on my list. Ultimately I can say it was a memorable weekend.
Day 1: Built to Spill
I knew going into this year’s festival, not having too much experience or past with the majority of Friday’s bill I mostly wanted to see Built to Spill. If you read my previous entry about BTS they played a pivotal role in the evolution of my music taste. There has been rumor for three years of a new album, which sounds like may become true in October, There is No Enemy. Regardless, as excited as I was to hear new tracks, I knew with the “Write the Night” set list to expect an evening of classics. I arrived at the tail end of Jesus Lizard’s set, reminiscent of my 90s high school era, but didn’t follow enough to have a discussion about. I was able to collect my thoughts and phase out the all-encompassing festivalgoers who may have arrived after happy hour to catch the entire evening. The weather was balmy and grey with a chance of storms. The band casually walks onstage and begins to jam, opening up with “Liar”. I am not sure if they were attempting to get comfortable or if this was their natural demeanor but there was such concentration in the onset of their play. Doug Martsch has such a reserved delivery when he sings, you almost expect a large booming voice but much like his lyrics its more delicate and controlled than anything else. It does not seem like he switches guitars at all as we are four songs in and each break is silent as he tunes the guitar. The guys are falling in sync and the show moves into the next gear, finishing up with “You Were Right” it’s like watching an army of guitars.
Finally making casual talk, Doug compliments the aroma of fumes that have made their way towards stage. Commentary was made about the possibility of WB halting the October release of their new album. Moving into “Kicked It In the Sun” like many of the songs thus far has a noticeable rise and fall of tempo. As much as it seems like a great idea to allow the fans to selects the songs to be played and knowing Doug’s desire for perfection (aim to build a more cohesive sounding set) I don’t know if it’s a concept that allows a band like BTS who has a tendency to elaborate on wherever their music takes them. I look around as my drunken surrounding bellow out requests, I laugh to myself. Rain has now began to fall steadily and it appears as though Doug has left his consciousness…Wow!!! The band powers through their set resembling mini symphonies being played simultaneously. It is always intriguing to see the natural tendencies present in a live performance. Doug has this convulsion like movement as he sings, delivering each and every concentrated line. There is a nice balance though across the board of songs mixing nostalgic favorites like “Big Dipper” and more recent “In Your Mind”. Doug stands back nodding his head in a confrontational manner between verses. There is something very beautiful about a band finding their harmony and grooving it out onstage. It is as though the crowds disappeared and we’re in this musty old garage or farmhouse, watching this untouched craft. This artist’s personal gem built upon by their various layers of creativity, what an unpredictable magic. It is pure comedy watching the myriad sections of the crowd explode with gratitude as their favorites are played. To conclude the evening Doug thanks everyone and begins “Carry the Zero.” It is like a sea of convulsions and spasms of musical nirvana as the crowd bop their heads and find their own methods to dance along with the melody. As the lines stream out of the park, my ear buds go in to avoid solicitors and heading back to the studio with a rejuvenated creative focus and a late night ahead of me, inspired and excited to return for day 2.
Day 2: The Antlers, The National and Everyone else...
Walking in with at least a handful of bands excited to see on Saturday, knowing that my schedule was already prohibiting me from seeing Cymbals Eat Guitar. I was very persistent to make The Antlers first showing in Chicago. A primary objective to get a full day worth of great music and to avoid the annoying nuances that sometimes come with festival environs. Especially given this turned out to be my final day at Pitchfork, opportunities disallowed me from returning for Sunday’s lineup.
The Antlers played Stage B: and seemed to have attracted a decent crowd, enough for Peter Siberling to comment. Off the bat, the band builds a strong ambience of sound; Darcy Cicci the keyboardist, emulating an organist on Sunday service while a hunched over Peter perfectly wails out lines of “Kettering”. I realize as I type this, one could question my psyche’s development from my upbringing in a Catholic private school, but Peter has a tendency in between verses to face the drummer, Michael Lerner, much like a Roman Catholic priest delivering a musical sermon. The Antlers live do an excellent job at recreating that personal journey one can take with their music, a remedy much needed to drown out the cackles and fumes from the surrounding crowds. The set is definitely set up as an annotated version of their new album, Hospice. In our interview, the fictional character Peter most related himself to was Kevin Arnold from TV’s The Wonder Years. This is quickly realized as you see him dancing onstage tearing into his guitar in a short sleeve plaid shirt. They smoothly transition us into “Bear” the fourth of the set, and the inattentive mumblers of the crowd finally look up. I was a bit disappointed with the sound boards at this point, on no fault of the band, I would have hoped for less volume on the keyboards as Peter’s voice was little lost. But hey, it was outdoors. Anyway, regardless it was a beautiful buildup at the end as Peter thanks the crowd again along with Pitchfork. A little drizzle falls from the sky as “Two” the next to last song of the set begins, and the band conclude appropriately with “Epilogue”. An amazingly big voice, it’s an awe-inspiring thing when someone’s voice live can recreate the same chills when first hearing their album. Ladies and Gentlemen, The Antlers!!! WOW!!! Its pretty intriguing how the rain fell throughout their somber ridden set and clears out with the end of their performance. I feel like I’m starting this day off on the right bat.
Moving onto the rest of the day, it became very difficult for me to settle down and focus on anyone’s full set. Much like a pinball I bounced all over the place, I’m sure running into friends who had no specific preference of bands they wanted to see until later in the afternoon. The energy coming off stage from The Pains of Being Pure at Heart on Stage A was pretty amazing and seemed rather contagious as they drew was sizable and participatory. Back to the Bowerbirds on B, who’s sweet and tender set remedies the fact the masses of crowds are getting larger. I have to admit Owen Pallett’s side project, Final Fantasy was something I knew very little about. But the way he played his violin was absolutely mesmerizing. I was completely pulled toward Stage C, where this one-man act was set up on the front right hand corner of the stage, but eloquently playing this modern symphony of emotion. One mostly assumes that violin lessons are parental enforced activities but the thought sometimes alludes me that maybe this generation of younger siblings actually enjoyed what they learned. It is becoming more of a trend to see these multi-talented musicians who are creating these orchestrated pieces of music that aren’t necessarily incorporating the standard 3-piece outfit. For one of the final songs in his set, Zach Condon of Beirut joined Owen on stage integrating a horn section for a track that will be on the upcoming Final Fantasy album. This is an example of the still positive aspects in music festivals. The discovery and excitement of a newly stumbled upon musician as the obvious drive and creative obsession from that artist is stimulating and can be a bright spot in the overbearingly annoying crowds of people who sometimes appear not to care about the music. The afternoon at this point began to blur together as there were pleasant sounds coming from the stages nothing that really enraptured me enough to struggle through the labyrinth of passed out drunks sprawled out on the ground catching a breather. Our group was looking forward to Beirut’s performance so we killed what time was left replenishing ourselves while people watching. I was also at this point mapping out Sunday’s schedule of shows still unknowing that I wasn’t going to be able to return.
Beirut played Stage A: and definitely attracted a decent crowd while it was noticeable that some folks were already claiming stake for the evening’s closers The National. This is a first time for me, as I am not too familiar with all of Beirut’s music but have always known I would enjoy it regardless. The sound is very similar to an old bandstand sextet playing next to the track at an old European train station. If the fictional French character “Amelie” had a male counterpart I don’t doubt it would be the music of Beirut, as you are transported to a small mountain town, it’s the old world instrumentation. There is culturally rich flavor to the sound and re imagines lives of those old family black & whites. Ultimately, I did move over towards Stage C, since The National was a big reason that I stayed throughout the day, but really enjoyed the remainder of the set and added Beirut to my regular play list.
In the bath of blue lights, The National arrives on stage and introduces themselves. The first song, “Runaway” is something new, slower tempo, the crowd is quieting taking the song in; as stragglers still file into empty spots. Matt Beringer takes a sip from his beverage and the guitars launch us into “Start a War”. The stage appears to be very crowded, something of a horn section peeks out from the right hand side, along with a violinist/keyboardist and not to mention the brothers Dessner and Devendorf all flank Matt’s baritone melodies. There is an effortlessness to their delivery, as they seem to make it appear very easy and graceful. Matt mentions something about the next song about it being a jam or no jam that tonight will be jam, “Vanderlylle Cry Baby”. These small hints of what we’re to expect are very promising. Aaron Dessner, plays his guitar with a bow in hand sparks my curiosity if they’re experimenting at all with their sound. There’s a casualness to Matt’s demeanor as he watches the brothers play, as though they were jamming on the back porch of a house. A build up and production is made as everyone toasted the next song “Squalor Victoria”. Matt’s blood is pumping as he screams, “Squalor Victoria!!!” I am reminded of old Nirvana tracks by some of the guitar feedback and dissonance that begins “Abel”. The tempo is then slowed down as the echoes of the Black Lips’ screeches are in the background; the snare and orchestrated claps lead us into “All the Wine”. The keyboard begins; “Fake Empire” presumably will return us to their regularly scheduled higher tempo show. By the end of the song the Dessners are raising their guitars, as the violin wails.
Day 1: Built to Spill
I knew going into this year’s festival, not having too much experience or past with the majority of Friday’s bill I mostly wanted to see Built to Spill. If you read my previous entry about BTS they played a pivotal role in the evolution of my music taste. There has been rumor for three years of a new album, which sounds like may become true in October, There is No Enemy. Regardless, as excited as I was to hear new tracks, I knew with the “Write the Night” set list to expect an evening of classics. I arrived at the tail end of Jesus Lizard’s set, reminiscent of my 90s high school era, but didn’t follow enough to have a discussion about. I was able to collect my thoughts and phase out the all-encompassing festivalgoers who may have arrived after happy hour to catch the entire evening. The weather was balmy and grey with a chance of storms. The band casually walks onstage and begins to jam, opening up with “Liar”. I am not sure if they were attempting to get comfortable or if this was their natural demeanor but there was such concentration in the onset of their play. Doug Martsch has such a reserved delivery when he sings, you almost expect a large booming voice but much like his lyrics its more delicate and controlled than anything else. It does not seem like he switches guitars at all as we are four songs in and each break is silent as he tunes the guitar. The guys are falling in sync and the show moves into the next gear, finishing up with “You Were Right” it’s like watching an army of guitars.
Finally making casual talk, Doug compliments the aroma of fumes that have made their way towards stage. Commentary was made about the possibility of WB halting the October release of their new album. Moving into “Kicked It In the Sun” like many of the songs thus far has a noticeable rise and fall of tempo. As much as it seems like a great idea to allow the fans to selects the songs to be played and knowing Doug’s desire for perfection (aim to build a more cohesive sounding set) I don’t know if it’s a concept that allows a band like BTS who has a tendency to elaborate on wherever their music takes them. I look around as my drunken surrounding bellow out requests, I laugh to myself. Rain has now began to fall steadily and it appears as though Doug has left his consciousness…Wow!!! The band powers through their set resembling mini symphonies being played simultaneously. It is always intriguing to see the natural tendencies present in a live performance. Doug has this convulsion like movement as he sings, delivering each and every concentrated line. There is a nice balance though across the board of songs mixing nostalgic favorites like “Big Dipper” and more recent “In Your Mind”. Doug stands back nodding his head in a confrontational manner between verses. There is something very beautiful about a band finding their harmony and grooving it out onstage. It is as though the crowds disappeared and we’re in this musty old garage or farmhouse, watching this untouched craft. This artist’s personal gem built upon by their various layers of creativity, what an unpredictable magic. It is pure comedy watching the myriad sections of the crowd explode with gratitude as their favorites are played. To conclude the evening Doug thanks everyone and begins “Carry the Zero.” It is like a sea of convulsions and spasms of musical nirvana as the crowd bop their heads and find their own methods to dance along with the melody. As the lines stream out of the park, my ear buds go in to avoid solicitors and heading back to the studio with a rejuvenated creative focus and a late night ahead of me, inspired and excited to return for day 2.
Day 2: The Antlers, The National and Everyone else...
Walking in with at least a handful of bands excited to see on Saturday, knowing that my schedule was already prohibiting me from seeing Cymbals Eat Guitar. I was very persistent to make The Antlers first showing in Chicago. A primary objective to get a full day worth of great music and to avoid the annoying nuances that sometimes come with festival environs. Especially given this turned out to be my final day at Pitchfork, opportunities disallowed me from returning for Sunday’s lineup.
The Antlers played Stage B: and seemed to have attracted a decent crowd, enough for Peter Siberling to comment. Off the bat, the band builds a strong ambience of sound; Darcy Cicci the keyboardist, emulating an organist on Sunday service while a hunched over Peter perfectly wails out lines of “Kettering”. I realize as I type this, one could question my psyche’s development from my upbringing in a Catholic private school, but Peter has a tendency in between verses to face the drummer, Michael Lerner, much like a Roman Catholic priest delivering a musical sermon. The Antlers live do an excellent job at recreating that personal journey one can take with their music, a remedy much needed to drown out the cackles and fumes from the surrounding crowds. The set is definitely set up as an annotated version of their new album, Hospice. In our interview, the fictional character Peter most related himself to was Kevin Arnold from TV’s The Wonder Years. This is quickly realized as you see him dancing onstage tearing into his guitar in a short sleeve plaid shirt. They smoothly transition us into “Bear” the fourth of the set, and the inattentive mumblers of the crowd finally look up. I was a bit disappointed with the sound boards at this point, on no fault of the band, I would have hoped for less volume on the keyboards as Peter’s voice was little lost. But hey, it was outdoors. Anyway, regardless it was a beautiful buildup at the end as Peter thanks the crowd again along with Pitchfork. A little drizzle falls from the sky as “Two” the next to last song of the set begins, and the band conclude appropriately with “Epilogue”. An amazingly big voice, it’s an awe-inspiring thing when someone’s voice live can recreate the same chills when first hearing their album. Ladies and Gentlemen, The Antlers!!! WOW!!! Its pretty intriguing how the rain fell throughout their somber ridden set and clears out with the end of their performance. I feel like I’m starting this day off on the right bat.
Moving onto the rest of the day, it became very difficult for me to settle down and focus on anyone’s full set. Much like a pinball I bounced all over the place, I’m sure running into friends who had no specific preference of bands they wanted to see until later in the afternoon. The energy coming off stage from The Pains of Being Pure at Heart on Stage A was pretty amazing and seemed rather contagious as they drew was sizable and participatory. Back to the Bowerbirds on B, who’s sweet and tender set remedies the fact the masses of crowds are getting larger. I have to admit Owen Pallett’s side project, Final Fantasy was something I knew very little about. But the way he played his violin was absolutely mesmerizing. I was completely pulled toward Stage C, where this one-man act was set up on the front right hand corner of the stage, but eloquently playing this modern symphony of emotion. One mostly assumes that violin lessons are parental enforced activities but the thought sometimes alludes me that maybe this generation of younger siblings actually enjoyed what they learned. It is becoming more of a trend to see these multi-talented musicians who are creating these orchestrated pieces of music that aren’t necessarily incorporating the standard 3-piece outfit. For one of the final songs in his set, Zach Condon of Beirut joined Owen on stage integrating a horn section for a track that will be on the upcoming Final Fantasy album. This is an example of the still positive aspects in music festivals. The discovery and excitement of a newly stumbled upon musician as the obvious drive and creative obsession from that artist is stimulating and can be a bright spot in the overbearingly annoying crowds of people who sometimes appear not to care about the music. The afternoon at this point began to blur together as there were pleasant sounds coming from the stages nothing that really enraptured me enough to struggle through the labyrinth of passed out drunks sprawled out on the ground catching a breather. Our group was looking forward to Beirut’s performance so we killed what time was left replenishing ourselves while people watching. I was also at this point mapping out Sunday’s schedule of shows still unknowing that I wasn’t going to be able to return.
Beirut played Stage A: and definitely attracted a decent crowd while it was noticeable that some folks were already claiming stake for the evening’s closers The National. This is a first time for me, as I am not too familiar with all of Beirut’s music but have always known I would enjoy it regardless. The sound is very similar to an old bandstand sextet playing next to the track at an old European train station. If the fictional French character “Amelie” had a male counterpart I don’t doubt it would be the music of Beirut, as you are transported to a small mountain town, it’s the old world instrumentation. There is culturally rich flavor to the sound and re imagines lives of those old family black & whites. Ultimately, I did move over towards Stage C, since The National was a big reason that I stayed throughout the day, but really enjoyed the remainder of the set and added Beirut to my regular play list.
In the bath of blue lights, The National arrives on stage and introduces themselves. The first song, “Runaway” is something new, slower tempo, the crowd is quieting taking the song in; as stragglers still file into empty spots. Matt Beringer takes a sip from his beverage and the guitars launch us into “Start a War”. The stage appears to be very crowded, something of a horn section peeks out from the right hand side, along with a violinist/keyboardist and not to mention the brothers Dessner and Devendorf all flank Matt’s baritone melodies. There is an effortlessness to their delivery, as they seem to make it appear very easy and graceful. Matt mentions something about the next song about it being a jam or no jam that tonight will be jam, “Vanderlylle Cry Baby”. These small hints of what we’re to expect are very promising. Aaron Dessner, plays his guitar with a bow in hand sparks my curiosity if they’re experimenting at all with their sound. There’s a casualness to Matt’s demeanor as he watches the brothers play, as though they were jamming on the back porch of a house. A build up and production is made as everyone toasted the next song “Squalor Victoria”. Matt’s blood is pumping as he screams, “Squalor Victoria!!!” I am reminded of old Nirvana tracks by some of the guitar feedback and dissonance that begins “Abel”. The tempo is then slowed down as the echoes of the Black Lips’ screeches are in the background; the snare and orchestrated claps lead us into “All the Wine”. The keyboard begins; “Fake Empire” presumably will return us to their regularly scheduled higher tempo show. By the end of the song the Dessners are raising their guitars, as the violin wails.
After thanking Pitchfork, Bryce Dessner notes their last visit in Chicago was in 95°weather as he is presently bundled up in a hoodie. The third and final new song of the evening is titled “Blood Buzz” and begins with a drum heavy and horny (haha) mid tempo track. The set is concluded with the wildly popular “Mr. November”. Matt’s voice unwinds a bit through the chorus and he ultimately jumps into the crowd, sitting up facing us, screaming the chorus at the top of his lungs. The band returns to stage for an encore song "Daughter of a Soho Riot"; the violinist strums his instrument like a uke. There is this I daresay epic sound in how they deliver their music and a variety of how a band chooses to jam out a song. I file out with the rest of the crowd stepping over the passed out hurriedly zipping through my play lists wanting to review the daylong list of sets and to revisit the highlights of the day. I was also eager to attempt to finish up some pressing work that needed to get accomplished in order to return in a timely manner for the festival’s final day, which also included a large number of the bands I had been anticipating.
Subscribe to:
Posts (Atom)
Subscribe
