Artist: Joan as Police Woman
------ Carol Bui
Date: January 14, 2010
Location: Black Cat (Backstage), Washington DC

I have a new musical love and her name is Joan Wasser.

When a friend sent me "The Ride" a few years back, I wasn't an immediate convert. But then "To Be Loved," the lead single from 2008's poignant To Survive, made me reconsider my initial impression. The hour that I and about 100 others spent with Joan as Police Woman on Thursday evening was equally revelatory, giving me a new appreciation for Wasser's superbly controlled voice and mature songwriting.

Song of the Night: "Start of My Heart" and "Save Me" (as if I could choose just one) were especially good live. Both songs address the topics of love and vulnerability, the former with a sense of sweet nostalgia and the latter with considerably more fire. The cover of Britney Spears' "Overprotected" was undeniably fun, much moreso than YouTube videos may suggest.

Quote of the Night: "It's like a mole crawled into my mouth," and a moment later, "Not appropriate stage banter." This came after a short exchange on cottonmouth-inducing throat coat tea... but it's really better out of context.

Trademark Move: The Pained Expression. Of course, that's not to suggest that there was anything painful about the experience. ("Passionate" might be a more suitable adjective, but I've second guessed its use since having a disagreement over its connotations in AP English Lit.) It's simply that Wasser appears so engrossed in the experience of performing her music. With her eyes clenched shut and her fingers tracing the (simulated) ivories, she exudes an electricity so tangible that you wonder if those keys are directly connected to your sensory receptors.

Anything Else?: The crowd at the Cat was an unexpected mix. It was an older group, by which I don't just mean your mid-20s yuppies (though they were suitably represented). There were more than a handful of people in the 45-64 age bracket and those who fell below the legal drinking age hardly fit the usual show-goer stereotypes.

Based on the diversity of listeners (and generally positive reception by critics), I'm amazed that Joan as Police Woman remains so criminally under-appreciated on this side of the Atlantic. Wasser and her band are headed to Europe soon, so those wanting to see her in North America will have to wait, at least for awhile. In the meantime, spread the word to your friends, family, neighbors, UPS delivery men... so that they, too, can fall in love.

Labels: show review

http://www.flickr.com/photos/setoutrunning/4198404524/

We are currently in the midst of an "historic" snowstorm here in Virginia. The (mostly unnecessary) blizzard warning has been lifted, but the sky's still an opaque grey and dropping powdery flakes by the cloudful. I wouldn't call the weather frightful--and there's no fire, so it's not delightful, either (or maybe it is, considering I'm terrified of flames)--but cabin fever always threatens to set in on days like this.

So far, I've kept myself busy with a little holiday baking. That task is a bit simpler this year thanks to the bevy of hunger-inducing food blogs I began following in 2009. I'm not typically a sweets/sugary foods person, but lately, I've been craving them like water. Even if sweets (or cooking in general) aren't your thing, you'll be motivated to spend more time in the kitchen after browsing these recipes and photos:

Baking Bites
Chocolate Chipped
delicious:days
have cake, will travel
Lottie + Doof - Not just a baking blog, but their 12 Days of Cookies feature looks heavenly.
madcap cupcake
Sugar Plum - Ignore the clever-yet-irritating background music.

And my absolute favorite... Habeas Brulee! Take a look at those Cardamom Meyer Lemon Créme Brûlée Bubbles... I am impressed.

I'm currently finishing up batch #2 of Isa Chandra Moskowitz's Gingerbread Cut Out Cookies and I must testify that they are easy, non-messy and, above all, delicious. I substituted bananas for the oil in this round of cookies and the dough tastes just as good as the original recipe... hopefully they bake up well! (Update: The no-oil version puffed up a lot while baking and turned out more bread-like than gingerbread-like.... I'd stick with the oil.)

Enjoy your day in, Mid-Atlantic folk. Sorry the snow couldn't have fallen (literally) on a work day.

Labels: 2009, non-music

Well, it seems it's that time again--time to get in the holiday spirit (also known as "stress") and reminisce on the events of the past 12 months... the people you met, the places you saw, the things you neglected to accomplish for yet another year, but will nonetheless optimistically pencil in for 2010. Yes, the year is coming to its inevitable close and, if you ask me, it's about time. For a year that seemed to pass so quickly, 2009 still felt unbearably long. So, let's put the soon-to-be-past behind us with a short ode to the final year of the first decade of the new millennium (sort of) and the musical gifts it bore.

The year began with the proverbial bang in the form of the much hyped Merriweather Post Pavilion. The excitement continued well into the summer with releases from Grizzly Bear, Phoenix and The Dirty Projectors (inexcusably, only one of which I've heard). These albums are sprouting up at the tops of year-end lists everywhere--you would expect "everywhere" to be supported with links, wouldn't you?--and some are even so accomplished as to bypass the proven test of time, making their way directly onto the best of the decade lists.

I don't plan to compile a hierarchical list for the year, let alone the decade, mostly because I was too busy, disinterested and/or lazy to listen to most of this year's releases. Instead, here's a list of the albums and songs which have the (undistinguished) honor of having earned a permanent place in my regular rotation:





In 50 Words Or Less: It's a gold mine of perfectly crafted images, longing and regret in the form of a thin sheet of plastic (or vinyl, if that's your thing). It proved (not that more proof was needed) that Neko's more than just an amazing voice.

Still Playing in 2019: "This Tornado Loves You"



In 50 Words or Less: Some critics complained it was too sedate. It's the kind of album you either ignore in the background or listen to with full attention so you don't miss its quiet charms. I choose to do the latter (and suggest you do, too).

Still Playing In 2019: "Finish Line"



In 50 Words or Less: "Fistful of Swoon" captures your attention and then the rest of the album holds it hostage without ransom (only if you're into the most harmonious of boy-girl harmonies, of course). Sometimes fragile, sometimes boisterous, occasionally a bit noir and always beautiful.

Still Playing In 2019: "Divide & Conquer"



In 50 Words or Less: Never before (as far as I know) have Disney and Godard melded quite so successfully. It achieves the playfulness and sound-versus-content irony of Marry Me, but in a more sophisticated and cohesive manner.

Still Playing In 2019: "Save Me From What I Want"



In 50 Words or Less: Overall, the most effervescent and optimistic of Metric's albums. There are still plenty of doubts, but unlike previous releases, the unabashed optimism isn't limited to the closing track (though "Stadium Love" maintains that tradition). Slickly produced, maybe my favorite Metric album so far.

Still Playing In 2019: "Collect Call"



In 50 Words or Less: An album that combines all the best parts of Yeah Yeah Yeahs. It's the electricity of Fever to Tell, reined in and polished without losings its edge (à la Show Your Bones), then released in strategic bursts.

Still Playing In 2019: "Dull Life"




Fever Ray, Fever Ray - Karin Dreijer Andersson's howl really makes me miss The Knife. Produced some of the most fascinatingly creepy music videos of 2009.
Still Playing In 2019: "Seven"

Sara Lov, Seasoned Eyes Were Beaming - A charming album and a charming voice. Sometimes a bit dismal (thematically), but that shouldn't be a surprise if you've heard Devics.
Still Playing In 2019: "Animals"

The Pains of Being Pure at Heart, The Pains of Being Pure at Heart - Vaguely recalls both The Smiths and The Jesus and Mary Chain. (And occasionally, Belle and Sebastian, but maybe that's just in my head.)
Still Playing In 2019: "Stay Alive"


Peaches, I Feel Cream - Songs like "Lose You" and the one that gives the album its title make me want to pull out the disco ball and gold lamé. A nice change of pace from the constant in-your-face explicitness for which she's known.
Still Playing In 2019: "I Feel Cream"

Phantogram, Eyelid Movies - The adjectives "glam" and "sinuous" come to mind.
Still Playing In 2019: "When I'm Small"

The xx, xx - Sounds like the soundtrack to the most mysterious and ephemeral of dreams (in which Romy Madley Croft would make the perfect narrator).
Still Playing In 2019: "Infinity"





Bon Iver, "Blood Bank" (Blood Bank EP) - Can Justin Vernon do any wrong? Some of the lyrics in this song are even intelligible!

The Decemberists, "The Wanting Comes In Waves/Repaid" (The Hazards of Love) - Two words: Shara Worden.

Karen O and the Kids, "All Is Love" (Where the Wild Things Are) - It's like a shaken, carbonated bottle of carefree childhood.

The National and St. Vincent, "Sleep All Summer" (Score! 20 Years of Merge Records) - These two should make a real album together.

Pete Yorn & Scarlett Johansson, "Wear and Tear" (Break Up) - The standout from a surprisingly charming album.

Samantha Crain & The Midnight Shivers, "You Never Know" (Songs In the Night) - Her warble will win you over.

Tegan and Sara, "Sentimental Tune" (Sainthood) - Sainthood didn't do it for me, but I love this song.



Autolux - The wait's been so long that it would seem like wasted energy to lose interest now.

Basia Bulat - Have you heard "Gold Rush"?

The National - Matt Berninger's voice makes even the most vague, nonsensical lyrics sound profound. If it sounds like past albums (any of them), it's going to be brilliant.

Stars - It's been over 2 years since the last full-length Stars album was released. Sad Robots was a more-than-nice intermission piece--it produced some of my favorite Stars songs yet!--but six tracks just isn't the same as 45-60 minutes of epic/sad/romantic orchestral pop. I miss the excited anticipation that comes with the dimming lights and cue of "The Beginning After the End."

Labels: 2009

Artist: Amy Millan
------ Bahamas
------ Canary
Date: November 8, 2009
Location: DC9, Washington DC

HEY Y'ALL. I've tried to write this entry about 397 times now and, every time, I've fallen asleep. Considering it's now multiple days overdue, giving it another go seems like a good--and, because it's the middle of the night, possibly productive--idea. In celebration of the music (and because I feel like it), the entry will have a heavy-handed country tint that may or may not simply mean gratuitous overuse of the word "y'all."

Labels: show review

Artist: Sea Wolf
------ Port O'Brien
------ Sara Lov

Labels: show review

Artist: Yeah Yeah Yeahs
------ Services
Date: September 25, 2009
Location: Nightclub 9:30, Washington DC

This one doesn't really need a review. It was exactly what one would expect of a Yeah Yeah Yeahs show--a colorful, confetti-filled, sing-along dance party. Karen O., Nick Zinner, and Brian Chase played a well-selected set of songs from Fever to Tell, Show Your Bones, Is Is, and It's Blitz! that clocked in at just under 90 minutes.



Karen hopped off the stage and traveled down the front row during "Cheated Hearts," allowing those in the audience to sing the ooh ooh oohs into the mic. "Maps" was dedicated to openers Services, the guy manning the laptops on stage right (who very recently had a baby), and everyone in attendance.

Labels: show review

Artist: Autolux
------ Sleepy Sun
------ Mini Mansions
Date: September 8, 2009
Location: Black Cat, Washington DC

Autolux's show at Black Cat last night was an event more than 4 years in the making. If I'm not mistaken, the last time the band stopped in the District was in 2005 at the same venue, opening for The Raveonettes. When I missed that show, I promised myself I'd see them the next time they passed through the area. Now that it's finally happened, I'm grateful that my interest in Autolux didn't wane completely over the past few years; it was a night worth waiting for.

Before I get to Autolux, a word about Sleepy Sun: If you've listened to their recordings--perhaps checking out their Daytrotter session from earlier this year--and weren't impressed, see them live. The experience of their music is greatly aided by the ability to see it being made, to see where the sometimes noisy and disorderly sounds originate. By the end of their set, the audience was abuzz with excited chatter and exclamations of love. It was a thoroughly awkward good time, with equal parts awkwardness--in the good way, courtesy of the two vocal leads' energy--and general goodness. Be prepared to dance.

As for Autolux, I should be honest. If I were to simply go through a list of Eugene Goreshter, Greg Edwards, and Carla Azar's words and actions, the night would sound distinctly uninteresting. An acquaintance from the waiting line described the band as supremely laid back, and the description was befitting--the three musicians played their music, sometimes robotically, only occasionally speaking a word and even less frequently outwardly expressing any emotion. There's something mysterious about this band; you can tell they're invested in their craft, but they're not overly sentimental or overly forthcoming regarding their lives and music, either in person or in interviews. Accordingly, the show wasn't exactly what I would call intimate, which is a quality I've come to appreciate from the likes of Stars and Neko Case. (I imagine their characteristic homemade lighting, a remedy for their disliking typical stage lighting, may have helped on that front, but it was noticeably absent from last night's plainly-lit stage.) But here's the thing--it doesn't matter. It really, really doesn't. What they do live, even though it lacks the standard formalities of live performance, just works for them. The power of their music--not some romantic, intangible power, but the physical power of the rush of warm air emanating with the distorted guitar and bass from their sound equipment--is a worthwhile experience in and of itself, visceral and impressive.

Though they didn't play a significant role in the evening, the moments in which the band did come out of their musical headspace to interact with the crowd were, in the very least, entertaining. There were some colorful (meaning intoxicated) characters in the audience who managed to engage Carla and Eugene on a few occasions. "Hello, Autolux. Welcome to DC!," someone shouted about halfway through the set, to which Carla deadpanned, "The hotel lost my car." Because sympathy is sometimes lacking in the presence of alcohol, the response was, "Not just a door? That's expensive!" (Salt, meet wound.) When Eugene commented that Autolux should get this guy to open their shows, the band was moved to laughter by the reply, "It's Neil Hamburger!," followed by someone parodying, "That's my eye!" After a playful demand for ten more songs, the evening's dialogue (quadrilogue?) ended on a heartwarming note with Mr. Faux-Hamburger thanking the band for talking with us.

In short, Autolux live is a monumentally good time, the product of the band's musical talent and likely also the interest of the fans, who have remained dedicated through the 5-year lull since the (first and) last album. The featured new material appears much in the vein of their existing work, but also explores different musical ideas; at least one new song stood out for its unexpected beat. Slight, difficult to articulate differences between recorded and live versions of Future Perfect material say the final verdict on the new songs will have to wait for the official release of Transit Transit, but at this point, everything looks promising. Full setlist from the night below. Highlights of the night included "Plantlife" and "Blanket."

Kissproof (new)
Audience No. 2
Subzero Fun
Capital Kind of Strain
Plantlife
Science of Imaginary Solutions (new)
Robots In the Garden
Blanket
Highchair (new)
Census (new)
Turnstile Blues
-----------
Encore song (unlisted, new)

The entire show spanned approximately 60-65 minutes. Photos on Flickr.

Labels: show review

Artists: St. Vincent, Mates of State, Jet, The National, Weezer, and more
Date: August 30, 2009
Location: Merriweather Post Pavilion, Columbia MD

This past Sunday's Virgin Mobile FreeFest was a relatively small, one-day affair that served as a fine introduction to the world of music festivals. As someone who's not much a fan of warm weather or crowds, I was thankful for the moderate temperature and thoughtful organization. Aside from the massive queue for pavilion seats and crowded main lawn later in the day, Merriweather's grounds were easily navigable, with various tents, offering everything from Converse to karaoke, scattered throughout. The crowd was an interesting mix of 20-somethings intent on reliving their teen memories of Weezer and Blink-182, mass amounts of teenagers, and the middle-aged moms who accompanied them. The eclectic nature of the crowd was undoubtedly attributable to the event's biggest drawing point--all but the very last of last-minute tickets were free, and even those who had to fork over a scanty $10 did so to benefit homeless youth, a nice recession-relevant gesture.

(I'll hazard a guess that attendees still did their fair share of economic stimulating via the purchasing of merchandise--Blink-182 shirts abounded--and $9 beers. Some brave souls probably also went for the "'veggie' corn dogs," though I was personally too wary of the questionable quotation mark placement to take that leap.)

St. Vincent | West Stage, 12:35-1:35
Annie Clark was half the reason I attended the FreeFest. Though it had only been 3 months since I had last seen her, I was already itching to witness her witty lyrics and bold guitar again in person. Once her microphones levels were satisfactory--after what seemed like hours of check 1-2s and effects 1-2s and subsequent adjustments at the sound board--and the photographers flooded in, she delivered a well-chosen selection of material from Marry Me and Actor. From the beginning of "The Strangers" to the last moments of "Your Lips Are Red," save a few quieter numbers, the set was plagued with overbearing and distorted bass. Balance issues aside, she and her band delivered the songs well, with Annie's dulcet voice standing in pleasant contrast to the cacophonous instrumentation. Mid-way through, she announced, "I haven't played this song in awhile, but it feels right," and delivered a solo cover of The Beatles' "Dig a Pony," which was largely absent from her Spring 2009 tour. Annie was congenial throughout and thanked us, "the greater Baltimore-Washington area," for coming to see her early in the day.

Mates of State | Pavilion Stage, 1:30-2:25
I spent the beginning of Mates of State's set walking from the West Stage over to the Pavilion and unfortunately missed one of my favorites from their catalogue, "Fraud In the 80s." Though Kori Gardner and Jason Hammel looked the size of a pack of Polly Pockets (a childhood favorite) from the back of the pavilion, their infectiously upbeat, sometimes discordant keyboard-and-drum tunes translated well to the large setting. (I'm still unsure why they weren't booked on the West Stage, perhaps switched with Public Enemy.) A few people in the seats were on their feet, and the husband-and-wife team appeared to have more than a few dedicated fans singing enthusiastically on the floor. It was my first time seeing the duo live and I was pleasantly surprised to hear the music so wonderfully recreated--both the male and female vocals were near perfect and Kori's fast, impressive keyboard playing sounded wonderfully vibrant and full-bodied. They ended the set with "Goods (All In Your Head)" and a cover of Tom Waits' "The Long Way Home."

Jet | Pavilion Stage, 4:20-5:30

Labels: show review

Quickly, a few things I've been listening to lately.

♫ Phantogram - When I'm Small [mp3]
I have to credit the KEXP Song of the Day podcast for introducing me to Phantogram. In my opinion (though this may be influenced by the fact that it was the first I heard), "When I'm Small" is the standout track from Eyelid Movies. The entire album, though, has broad appeal--e.g. listening to it makes mock-up iPod ads float through my head--and I imagine this band will receive more exposure in the months to come.

My friend Melody, a.k.a. the Singing Lamb, asked me to write a more thorough review of last week's Neko Case show for her readers. (Yes, it's a Toronto blog. No, the show was not in Toronto.) Read the review here and then check out the rest of the wonderful interviews, reviews and photos!

Labels: show review