Monthly Archives: January 2011

Report: Grace Potter & Chamberlin Live in Portland

 

At Portland,
Oregon, venue the Wonder
Ballroom, the hippie scene was alive and well on January 28.


By
Tim Hinely

 

An
evening of, oh I’ll just say it, hippie rock, here in Stumptown (no lack of
hippies here). Opening act Chamberlin apparently hail from the furthest reaches
of Vermont, out in the woods and practice in a remote log cabin (and even if
they don’t it makes a good story, right?) and their publicist assured me they
were good (I had not heard a note of their music) and they were. Seemingly
taking the same cues from The Band as Dawes does they weaved a similar rootsy
feel and played a thoroughly pleasant set. The percussionist/ keyboardist added
extra meat to the proceedings and I wish for the life of me I knew what Kinks
cover that was.

 

Grace
Potter and the Nocturnals hit the stage a little after their 10:15 PM starting
time and did a big build-up intro with Grace popping out dancing in his
glittery dress cut off just above the knee. The band are real pros, but Grace’s
head wagging, stage dancing and shouts of “Are you having a good time tonight, Portland?!” got old
pretty quickly. I only hung for a handful of tunes but I believe I heard “Oasis
, “Medicine” and others off her latest self-titled released and as I was
walking out the door they had just launched into the reggae-tinged “Goodbye
Kiss.” Potter’s vocal’s, while not really my thing, do have an impressive range
and her bluesy wail has inspired comparisons to both Janis Joplin and Bonnie
Raitt in countless reviews and it’s probably fair to say that I was the only
one in the sold-out club to leave early. 

 

Report: Grace Potter & Chamberlin Live in Portland

 

At Portland,
Oregon, venue the Wonder
Ballroom, the hippie scene was alive and well on January 28.


By
Tim Hinely

 

An
evening of, oh I’ll just say it, hippie rock, here in Stumptown (no lack of
hippies here). Opening act Chamberlin apparently hail from the furthest reaches
of Vermont, out in the woods and practice in a remote log cabin (and even if
they don’t it makes a good story, right?) and their publicist assured me they
were good (I had not heard a note of their music) and they were. Seemingly
taking the same cues from The Band as Dawes does they weaved a similar rootsy
feel and played a thoroughly pleasant set. The percussionist/ keyboardist added
extra meat to the proceedings and I wish for the life of me I knew what Kinks
cover that was.

 

Grace
Potter and the Nocturnals hit the stage a little after their 10:15 PM starting
time and did a big build-up intro with Grace popping out dancing in his
glittery dress cut off just above the knee. The band are real pros, but Grace’s
head wagging, stage dancing and shouts of “Are you having a good time tonight, Portland?!” got old
pretty quickly. I only hung for a handful of tunes but I believe I heard “Oasis
, “Medicine” and others off her latest self-titled released and as I was
walking out the door they had just launched into the reggae-tinged “Goodbye
Kiss.” Potter’s vocal’s, while not really my thing, do have an impressive range
and her bluesy wail has inspired comparisons to both Janis Joplin and Bonnie
Raitt in countless reviews and it’s probably fair to say that I was the only
one in the sold-out club to leave early. 

 

Santigold Designs a Vans Shoe

 

Limited edition hits stores this
week.

 

By Blurt
Staff

 

Santigold, whose 2008 eponymous album established her
internationally and was on best of 2008 top 10 lists across the globe, is currently
at work on her new album and plans to release it later this year. 

Meanwhile, ith her eclectic sound, incredible sense of style and love for Vans,
it was too good to be true when Vans and Santigold joined forces for a special
February 2011 shoe release.  Santigold teamed up with Vans designers to
create a shoe of her very own.  Working with the new Tosha Hi silhouette
and Santi’s personal design aesthetic, the limited Vans x Santigold
collaboration features premium perforated full grain leather, faux gold chain
accents.  The look becomes complete with a custom SG gold pin created with
the trained eye of jewelery designer Jules Kim of Bijules.  

 

 

The Vans x Santigold Tosha Hi begins shipping to stores February 1, 2011. 

 

Kills Unveil New Single

 

Album coming in April.

 

By Blurt Staff

 

The Kills – Jamie Hince and Alison Mosshart – announce their
new single “Satellite”, streaming at www.thekills.tv now. It’s off the
upcoming album Blood Pressures, due
April 5 on Domino.

 

Or listen to it right here: “Satellite”.

 

“Satellite” features Alison’s melancholy vocals enveloping a
dub influenced guitar, building to a soaring, swelling chorus with additional
vocals contributed by The REV Gospel Collective. Also watch for the
Sophie Muller directed road trip inspired music video for “Satellite” coming
soon.

 

Return of the Chocolate Watchband!

 

Long a performing fave among garage aficionados,
the west coast psych legends now put the finishing touches on re-recorded
versions of early hits.

 

By Blurt Staff

 

Okay, all you Nuggets heads and garage/psych fiends:
the Chocolate Watchband is returning to the record bins. This famed sixties
group has recorded a new album of their greatest and most popular tunes titled,
sensibly, The Chocolate Watchband
Greatest Hits.
Recorded in 2010 at KVP Studio in Santa Clara, CA,
the focus on this album was to faithfully reproduce the sound of the Chocolate
Watchband in the 60’s with the rawness and energy of the originals. Also added
were bonus verses and extended track mixes of 13 personal and fan favorites.

 

“The Chocolate Watchband
is back on the scene and ready to rock!” says Tim Abbott, guitarist and
producer of the album. Adds Phil Dirt, local radio DJ and longtime fan, “This
release is all new recordings from The Chocolate Watchband. I had the privilege
of premiering some of these songs on the 2010 Bay Area Garage Band Marathon on
KKUP Cupertino. This is an incredible set of vintage garage from one of the
true legends of the sixties. With this album, there can no doubt the power of
their music still speaks to a whole new generation.”

 

According to the band, the
goal was to re-create the sound and energy that marked the sixties sessions
with producer Ed Cobb, from the first three Watchband albums that were recorded
for Tower Records in 1966, ’67, and ’68. Electronically reproducing the reverb
of the old ‘Echo Chamber’ from American Recording studio in Studio City, CA,
different percussion instruments were added including sleigh bells,
tambourines, chimes, temple bells and more exotic instruments like sitars,
harpsichords, theremin and bouzouki that gave the original recordings their
distinctive sound.

 

The band, of course, had
originally split up as the seventies dawned after enjoying a a solid run (they
were featured in seminal teensploitation flicks Riot on Sunset Strip and The
Love Ins
). Then in 1999 they got back together for the Mike Stax-organized
66/99 festival in San Diego
and have continued to perform since then. The current lineup:

 

David Aguilar- Vocals,
Harmonica, Percussion

Bill Flores- Bass

Gary Andrijasevich- Drums
and Background Vocals

Tim Abbott- Lead Guitar,
Keyboards, Sitar, Flute, Bazooki, Harmonica and Background Vocals.

Alby Cozzette- Electric,
Acoustic, and 12 string Guitars, and Background Vocals.

 

Tracklisting:

 

1. Expo 2000

2. Gone and Passes By

3. It’s All Over Now Baby
Blue

4. Are You Gonna’ Be There
(At The Love-in)

5. No Way Out

6. Misty Lane

7. I Ain’t No Miracle
Worker

8. Sitting There Standing

9. Sweet Young Thing

10. Don’t Need Your Lovin’

11. I’m Not Like Everybody
Else

12. Let’s Talk About Girls

13. Inner Mystique

 

Fleet Foxes Set Date for New Album

 

Check out free download of new track, below, plus tour
dates listing.

 

By Blurt Staff

 

On May 3rd Fleet Foxes will
release Helplessness Blues (Sub
Pop/Bella Union), the follow up to their 2008 self-titled debut. The release of
the twelve-track album will coincide with the band’s first North American tour
dates since August 2009 followed by a string of UK and European dates.  The
tour will begin in Vancouver on April 30th and
end in London England. Itinerary is below.

 

Fleet Foxes have made the
title track available for a free download: “Helplessness Blues” 

The album was recorded over the course of a year at Avast Recording, Bear Creek
Studios, Dreamland Studios, and Reciprocal Recording, and was was mixed by Phil
Ek and co-produced by Fleet Foxes and Ek. The piece that appears on the album
cover was illustrated by Seattle
artist Toby Liebowitz and painted by Chris Alderson. Fleet Foxes is Robin
Pecknold, Skyler Skjelset, Christian Wargo, Casey Wescott, Josh Tillman and
Morgan Henderson.

 
Tour Dates:

04/30/11 Sat – Vancouver BC @ The Vogue Theatre *
05/01/11 Sun – Portland OR @ Crystal Ballroom*
05/03/11 Tue – Seattle WA @ Moore Theatre*
05/05/11 Thu – Oakland CA @ Fox Theater**
05/06/11 Fri – San Diego CA @ Spreckels Theatre*
05/07/11 Sat – Hollywood CA @ Hollywood Palladium*
05/08/11 Sun – Tucson AZ @ Rialto Theatre*
05/10/11 Tue – Austin TX @ Stubbs Waller Creek Amphitheater*
05/11/11 Wed – Dallas TX @ Palladium Ballroom *
05/13/11 Fri – Nashville TN @ Ryman Auditorium*
05/14/11 Sat – Atlanta GA @ The Tabernacle*
05/15/11 Sun – Washington DC @ DAR Constitution Hall*
05/17/11 Tue – Boston MA @ Orpheum Theatre*
05/18/11 Wed – New York NY @ The United Palace Theatre*
05/21/11 Sat- Upper Darby PA @ Tower Theatre***
* On sale to general public Feb 4
** On sale to general public Feb 6
*** On sale date TBA

 
(UK and European Tour)
05/25/11 Wed – Berlin, Germany @ Astra*
05/26/11 Thu – Munich, Germany @ Dachau Summer of Music*
05/28/11 Sat – Barcelona, Spain @ Primavera Sound**
05/30/11 Mon – Paris, France @ Bataclan*
05/31/11 Tue – London, England @ Hammersmith Apollo*
*On sale to general public Feb 4 at 9am local time

 

Reading Assignment: New Dagger ‘zine

 

By Fred Mills

 

Sure, they’re a dying breed, fanzines. We’re midway through
an entire generation that has no idea what a “newsstand” is, and even today’s
record store-frequenting youth assumes that any printed publications they
encounter near the check-out counter are nothing but giveaways and local
advertising rags. But c’mon, folks, let’s all raise a toast to the lowly ‘zine,
which is a tangible demonstration of chutzpah and perseverance that nobody with
a WordPress-powered blog can lay claim to. (Seriously, how hard is it to push
the “publish” button on a website, compared to the work that’s involved with
laying out an array of 8 ½” x 10″ pages, arranging ads, shipping the thing off
to a printer and then going about the distribution and mailing of a ‘zine? I
speak here as one who spent over a decade, starting in the late ‘70s, publishing
a string of my own ‘zines…)

 

BLURT contributor Tim Hinely, straight outta Portland, has
been publishing the mighty Dagger zine for ages now, and with his latest issue, Winter 2010-11, he’s up to number
43. The latest issue features a slew of in-depth Q&As: Bob Fay (Sebadoh,
Cardinal, etc.), weighing in on his career, on the Boston music scene, and
more; Chris Brokaw, likewise talking about his stints in Come, Codeine and even
G.G. Allin’s band; Eric Matthews of Cardinal and solo fame, with the scoop on
his new band called Seinking Ships; and Lisa Fancher and Al Crisafulli, of
Frontier and Dromedary Records fame respectively, on the ups and downs of
operating indie record labels. Plus more reviews than you can shake a walking
stick at.

 

Check out Dagger while you can – Hinely hints that as he gradually nears the big five-oh mark
(issues, not years) he is mulling over early retirement from da game. You can
get details at the website, www.daggerzine.com,
or let the US Postal Service in on some of the action by writing him at PO Box 820208, Portland
OR 97282.
That funny-looking stuff on your fingers? It’s called ink. You get it from turning the pages of a printed publication. Go
ahead, taste it, it won’t hurt you…

 

 

Report: San Diego Experimental Gtr Show 2011

Duct-tape, jingle
bells, lit sparklers and H-bomb metronomes: just another night on the town in San Diego, at the Soda
Bar, on Jan. 22.

 

Text and photos by Mary Leary

Stools are dragged toward the stage. People sit on the floor
or stand, waiting for the finale. Intermittent guffaws and grins greet the
contraption M.J. Stevens balances on one knee: in a former life it was an
ordinary acoustic guitar. Now a waterfall of strings cascades and spikes down
and out. A cymbal covers the hole. Jingle bells are attached beneath the bridge.
Stevens applies a metal brush, a screwdriver, the bells, and even his fingers.
Gradually League of Assholes guitarists Esteban Flores, Marcelo Radulovich and
Peter Graves add echoes, peels, and drones.  When Stevens likes the scratches, squeaks, or
unidentifiable effects he’s producing, he repeats the technique unto a
cathartic and/or absurdist state as some of us crack up or yell approval.
(League of Assholes pictured below.)

 

 

 

 

It’s the second year Sam Lopez, aka Zsa Zsa Gabor, has put
this monster together. Profuse publicity and promotion have garnered more
bodies than I’ve ever seen in San Diego for any sort of “experimental” show. So
many people are clustered near the stage, documenting (three filmmakers and a
ton of photographers, along with lots of folks manipulating smart phones), and
there’s such a crush as performers shift between presentations that The Marx
Brothers’ famous stateroom scene (A Night
at the Opera
) springs to mind several times.

 

With instrument, device, and set-up shifts beyond those
normally attending a multi-performer night, it could have been a mess. With a
few awkwardly long gaps, things run about as smoothly as can be expected in
such a small venue (Soda Bar’s official capacity, including the side devoted to
drinking and pool playing, is 230), with sufficient retention of audience
interest – even a few drunks wander curiously over from the bar side to the
performance area.

 

 

 

What could have presented as a testosterone-charged
experimental smackdown turns out to be a thoughtful, well-ordered bouquet of
talent. Back from a Tennessee
sojourn, Abel Ashes (above) has grown beyond efforts inspired by Frank Zappa or
Captain Beefheart and occasional, purely original genius. Tonight he emits
spontaneous, rather Asian motifs and slides a broken wine glass along his frets
before emitting brilliant poetry: his best pieces parse music with words. His
finale is “H-Bomb Metronome”:

 

“Vibrating paper funnels project past molecular spasms into
the stagnant air as one thousand decibel imperial gongs announce each second
like an H-bomb metronome in retarded lament…”

 

 

 

 

Per the plan on his blog, Randy Chiurazzi (above, and at top)
“create(s) multi-timbral sound clusters by moving an amplified guitar over
various string-exciting objects adhered to” a white coverall. Chiurazzi
provides the evening’s most accessible conceptual sequence with “Corporate
Malfeasance,” Guitarbage Can,” and “Everyone is a gooey dessert for something
in the universe.”

 

 

Also known as Riververb, Frank Melendez (above) launches his
segment by tossing several lit sparklers in a can, then uses one of his
self-fabricated (often from oil drums, sheet metal, titanium gaskets, and/or
tension springs) guitars to throw a wall of impermeable sound behind the sparks
and sulfur. The Locust’s Bobby Bray (below) waxes euphoric over his merging of
free-share programs, then throws down an impressive set culminating with him
stepping on and off several guitar pedals.

 

 

 

Best known for his role in Black Heart Procession, Pall
Jenkins (below) performs solo. It’s the evening’s most cathartic interlude,
reminding me of both Rhys Chatham and Pink Floyd circa “Set Your Controls for
the Heart of the Sun” with a simultaneously soothing and exciting repetition. Revealing
the nuances in the depths of minimalism; it’s a sort of “Louie Louie” for
anti-capitalist intelligentsia.

 

 

Emilie Simon Plots Next U.S. Release

Listen to free MP3
from the French vocalist, below.

 

By Blurt Staff

 

France’s
Emilie Simon definitely isn’t a household name on these shores, but the
songbird is working on that, having lived in Brooklyn
since 2008. Some might recognize the name, however, from her work scoring the
documentary March of the Penguins;
she also debuted in the US
in 2006 with The Flower Book. Prior
to that, she launched her career in 2003 and immediately captured the
imagination of a large audience with her sprawling and elegant musical
fantasies, earning three Victoires de la Musique (France’s Grammy equivalent) during
the course of her first three albums.

 

She has a new album, The
Big Machine
, due April 16 on Le Plan which features guests Kelly Pratt and
Jeremy Gara (Arcade Fire) as well as Jon Natchez (Beirut) and Mark Plati (David Bowie, The
Cure, Brazilian Girls). It’s described as “full of Emilie’s powerful and
seductive voice, inventively playful arrangements, driving synths and rhythms,
and prodigious melodies,” which sounds like a winner to us.

 

Check out an advance teaser MP3:

 

 

 

Watch New Joan As Policewoman Video

 

New album incoming…

 

By Blurt Staff

 

Way back in 2008, for the very first issue of BLURT, we put
Joan Wasser – aka Joan As Police Woman – on the cover. (You can read the accompanying
feature on Joan here.) Now comes word that Joan is locked and loaded and ready
to release a new album, her fourth. Titled The
Deep Field
, it’s already out digitally via her website (www.joanaspolicewoman.com ) and at
iTunes, and it’s due on CD and vinyl with a bonus track on April 12 via PIAS.

 

You can check out the, er, provocative video for the first
single, “The Magic,” below. It’ll have you reaching for your toothbrush.