diary 8.25.14- it speaks of distance

Diary 8.25.14- it speaks of distance by Shalloboi on Mixcloud

this was supposed to be an end-of-summer themed mix. it turned into this weird, dreamy, atmospheric sad kind of thing- which i guess isn't that surprising, really. all vinyl rips too!

song- artist- album

1. deep blue day- brian eno- 'apollo atmospheres and soundtracks'
2. machine gun- slowdive- 'souvlaki'
3. already there- the verve- 'a storm in heaven'
4. dozen- alison's halo- 'dozen' 7"
5. melanie's melody- the black angels- 'phosgene nightmare'
6. unknown- the brian jonestown massacre- 'revelation'
7. raven on white cadillac- white fence- 'for the recently found innocent'
8. i got nothing- dum dum girls- 'end of daze'
9. sisters- the raveonettes- 'pe'ahi'
10. vital- grouper- 'the man who died in his boat'
11. take good care of it- spiritualized- 'fucked up inside'
12. biggy- warpaint- s/t
13. sad colored tears- the stargazer lilies- 'we are the dreamers'
14. mary is mary- wye oak- 'the knot'
15. awake- black rebel motorcycle club- 'live in london'
16. rollercoaster- spacemen 3- 'live at the new morning'
17. i'm less here- mazzy star- 'i'm less here' 7"

slowdive at pitchfork 2014

‘You’re here for Slowdive aren’t you?’ my friend Nick said almost immediately as I stopped by his Flatstock booth to say hello before heading to the green stage to stake out a good spot. Guilty as charged. If Pitchfork 2014 hadn’t been one of only two American appearances that had been announced (once Sunday sold out the band announced a comprehensive US tour in October including a stop at the Vic) by the newly reunited band I wouldn’t have been there. There were many others who I saw floating around in the crowd such as myself—someone in their mid-30s sporting some kind of late 80s/early 90s British indie band T-shirt (I chose Spacemen 3; one guy had a Ride shirt that looked pretty well-worn). While the mania behind my bloody valentine is easily understood, Slowdive remain an influential and top-tier band from the original shoegaze era that will probably never get their due. Their songs were the height of dreaminess, their fuzzy squalls more soothing than abrasive, they were never as concerned with quaking, overwhelming noise as they were with well-constructed songs. While their music was dreamy and hazy there was always a solid, clear foundation to keep it grounded. They were incredibly introspective even for an introvert-friendly genre like shoegaze—their transformation into acoustic-based, mellow, melancholic, country-inflected group Mojave 3 wasn’t much of a shock. The harmonic vocal chemistry between Neil Halstead and Rachel Goswell was even deeper and more bewitching than Kevin Shields and Bilinda Butcher’s. They’re a band that I never realized I’ve had on constant rotation since first hearing them in 1997. In that sense it seems fitting that their legacy is a surprise as well.

My day at the festival underwent a few hiccups on the way there—I’d planned to catch DIIV’s set at 1:45, but once I was halfway to the festival I realized that my phone was dead, which contained the email with my tickets’ barcode on it. I’d also forgotten to stop for two bottles of water. I ended up having to turn back and then not leaving until around 2:30 so that I could get to Union Park in time to catch Dum Dum Girls. I wasn’t expecting too much from their set, to be honest. I haven’t even bothered with their latest, ‘Too True’ as none of the tracks have really pulled me in enough to check out the whole thing. They fought through some sound issues at the start of their set, but pushed through it admirably and I was impressed by the ferocity of the whole thing—plus it was dotted with material from most of their releases. I liked the two tracks they played from the ‘End of Daze’ EP—‘I’ve Got Nothing’ and ‘Lord Knows’—the best. They also played two from the ‘He Gets Me High’ EP as well as one from their debut ‘I Will Be’ and two highlights from ‘Only in Dreams’—‘Bedroom Eyes’ (a song that somehow mixes ruminating about insomnia with emotional double entendre) and my favorite of theirs, ‘Coming Down.’ I’ve always found it admirable that they close with a mid-tempo slow-burner like ‘Coming Down,’ but it always works.

After wandering around the festival grounds and stopping for a few of Goose Island’s hourly offerings (the Rasselbock and the Kölsch were both fantastic), some affordable local food (I’m pretty sure that you can’t get a slice of Connie’s pizza at Lollapalooza for $4) I staked out a spot in front of the green stage in anticipation of Slowdive’s set. I had a mild desire to watch Real Estate at the Red stage, but they’re another band that I used to love whose new record I haven’t bothered with—plus I could hear it pretty well from where I was standing anyway. It was a more energetic set than they treated the festival to in 2012—they played ‘It’s Real’ from their 2011 album ‘Days’ as well as ‘Out of Tune’ (which is my favorite from that album along with the wistful beauty of ‘Green Aisles’). The main reason I haven’t been able to get into ‘Atlas’ (which I’ve heard several times now) is because it leaves behind that wistful beauty that was so evident on ‘Days’ and on several tracks from their debut.

Finally, it was time for the main event and Brian Eno’s ‘Deep Blue Day’ come on over the P.A., Slowdive came out and started with their eponymous debut single, including the B-side ‘Avalyn.’ Could there be a more perfect beginning? I had a great spot—much closer than I normally am willing to go at a huge festival, but the crowd was euphoric, the weather was nicer than can reasonably be expected in mid-July and it was all about as perfect as could be expected. ‘It sounds AMAZING!!!’ someone called out aloud after the first song. It did—definitely the best sounding set I’ve ever heard at Pitchfork. During ‘Catch the Breeze’ the band was incredibly dynamic lifting the song’s soothing cascades into some really crunchy loudness. It was LOUD and clear and heaven-sent. Halstead and Goswell’s vocals were effortlessly on-point and the rhythm section (drummer Simon Scott and bassist Nick Chaplin) were incredibly strong. They played a few tracks from 1995’s minimalistic ‘Pygmalion’ (‘Crazy for You’ and ‘Blue Skied an’ Clear’), then launched into ‘When the Sun Hits’ and ‘Alison,’ both of which were surprisingly emotional. After a fresh airing of ‘Just for a Day’ track ‘She Calls’ (which had the same dynamic power as the earlier ‘Catch the Breeze’) they ended with their cover of Syd Barrett’s ‘Golden Hair.’ It seemed like an odd choice for a festival set closer until they got halfway through the extended ending—it rose and swelled several times beautifully and loudly. The overall vibe in the crowd was electrifying as well—my disdain for crowds is well-documented, but this one was a pleasure to be a part of. It was the type of festival experience that I thought could only exist in dreams.

After that I stopped by the Goose Island tent for one last beer before heading home from a very satisfying evening. Do I wish that there had been a few more bands that I wanted to see? Sure. Do I wish that the ticket prices to the festival weren’t so expensive? Absolutely. Since it ended up being such an impossibly beautiful day weather-wise and since Slowdive had been the most ecstatic set I’d seen at the festival since I’d first gone in 2007 there was way more to be happy about than be annoyed with.

diary 6.24.14- i tried to be happy, but it wasn't easy

Diary 6.24.14- i tried to be happy, but it wasn't easy by Shalloboi on Mixcloud

song- artist- album

1. some summers they drop like flies- dirty three- 'whatever you love you are'
2. blue moon revisited (song for elvis)- cowboy junkies- 'the trinity session'
3. taking chances- sharon van etten- 'are we there?'
4. cross bones style- cat power- 'moon pix'
5. sick talk- wye oak- 'shriek'
6. high & wild- angel olsen- 'burn your fire for no witness'
7. half a person- the smiths- 'louder than bombs'
8. elegie- patti smith- 'horses'
9. save me- frankie rose and the outs- s/t
10. razzle dazzle rose- camera obscura- 'let's get out of this country'
11. how we lost- the stargazer lilies- 'we are the dreamers'
12. snowbleed- alison's halo- 'eyedazzler'
13. no way out- warpaint- coachella 2014
14. who sees you- my bloody valentine- new york 2013
15. open invitation- black rebel motorcycle club- 'live in london'

the screaming stars- 'iii'

third screaming stars record is finished (ironically while the second record hangs awkwardly in limbo) and posted on soundcloud. highly recommended if you're ever having trouble sleeping. this record was meant to document the weird transition from winter to spring this year.

diary 5.17.14- havin' a hellride

Diary 5.17.14- havin' a hellride by Shalloboi on Mixcloud

song- artist- album

1. linda's gone- the black angels- 'clear lake forest' 10"
2. baby's going underground- helium- 'the dirt of luck'
3. something goes wrong- medicine- 'part time punks'
4. imaginary person- ty segall- 'melted'
5. fifth in line to the throne- camera obscura- '4ad sessions'
6. calendar- alison's halo- 'dozen' 7"
7. love is to die- warpaint- s/t
8. red eyes- the war on drugs- 'lost in the dream'
9. night still comes- neko case- 'the worse things get, the harder i fight, the harder i fight, the more that i love you'
10. dreaming my dreams with you- cowboy junkies- 'the trinity session'
11. saturn song- beach house- 'the space project'
12. the lens- thee oh sees- 'drop'
13. undone- the stargazer lilies- 'we are the dreamers'
14. be above it- tame impala- 'live versions'
15. just a little boy- swans- 'to be kind'

ruminations: neko case at the chicago theater 5.13.14

I can’t review a Neko Case show—to review something implies impartiality, which I’m just not capable of with Case’s music. It was the perfect ending to a joyfully surreal day that started with me heading to Reckless to pick up the new Swans record, which I then listened to in its entirety before heading to a friend’s house to drink a bunch of awesome homebrewed beer and then on to the show. Between this show and the new Swans record was the knock-out punch to lift me out of a recurring funk that I’ve been falling in and out of over the past few months.

Her new record’s release last year saw me feeling a bit ambivalent initially—my first listen wasn’t necessarily a delirious one and I was completely confused and underwhelmed by the single ‘Man.’ I ended up buying the record digitally and then falling in love with it right before the holiday season and can now honestly say, without any stars in my eyes, that ‘The Worse Things Get, The Harder I Fight, the Harder I Fight, The More That I Love You’ is her best record since ‘Fox Confessor Brings the Flood.’ When her set started off at the Chicago Theater it sounded a bit rickety to me, until Kelly Hogan announced ‘We’re going to play a make-out song now,’ before the band launched into ‘Lion’s Jaws’ which has been a favorite of mine since I first heard ‘Fox Confessor…’ (it’s those heavenly backing vocals) and it was the moment right near the beginning of every Neko Case show that I’ve been to where I end up thinking, ‘Well, there’s your money’s worth right there—three songs in.’ She remains one of the only artists I’ve been listening to for as long where this is true—in 2007 it happened three songs in when she played ‘Favorite,’ in 2009 it was after ‘Middle Cyclone’ and this time it was ‘Lion’s Jaws,’ which I’ve always wanted to hear live and it was absolutely flawless.

Her current live band has swapped in Eric Bachman of Crooked Fingers for long time live guitarist Paul Rigby and the band has more of a minimalist sound than it did before, which suits the new material perfectly. Bachman is also able to switch between keyboards and formidable backing vocal duties as well. They played all of the new record apart from only a couple of songs, a good chunk of ‘Fox Confessor…’ as well as several from 2009’s ‘Middle Cyclone.’ ‘Deep Red Bells’ from ‘Blacklisted’ and ‘Set Out Running’ from ‘Furnace Room Lullabye’ made an appearance as well. To call this set ‘generous’ is a bit of an understatement—by the end of the night the band had played for more than an hour-and-a-half and with plenty of surprises—I had no idea that Case had a song on ‘The Hunger Games’ soundtrack. Her first of two encores featured a duet with Bachman on Crooked Fingers track ‘Sleep All Summer.’ Starkness was the name of the game and it worked beautifully.

This show brings me to another rather surreal phenomena—people bringing their children to concerts. It seems like I can’t go anywhere I used to without being in the presence of tons of children, which I suppose reflects my age group more than anything else. I was in a lone seat up in the box section of the lower balcony—very comfortable and roomy—in the booth behind me was a family of four. In the end it wasn’t any more annoying than I usually find general crowd behavior, there are always people at shows to talk loudly and obliviously during quiet sections of songs to interrupt the trance you’ve been blissfully falling into. At least these were kids and their parents were trying to keep them quiet during the show—perhaps they were trying to teach their kids this type of etiquette at a young age. It was hilarious to hear Neko deliver so much profanity-laced onstage banter while hearing these tiny voices behind me asking their mother to explain what was being said. Then there was the fact that Case performed ‘Nearly Midnight, Honolulu’ after which someone yelled out ‘THAT WAS FUCKING AMAZING!’ ‘Yeah,’ Neko replied, ‘Chicago Tribune—one line—Neko Case at the Chicago Theater—“That was fucking amazing!”’ My favorite moment in this regard remains when Case declared into the microphone, ‘Now I’ve got a camel toe to go with these awesome pants,’ and once the gales of laughter died down I enjoyed the delight of hearing the mother of a seven-year-old girl trying to innocently explain what a camel toe was. They also left at the beginning of the first encore, ‘It’s time for bed,’ the mother cooed to her children.

review: angel olsen at lincoln hall 5.4.14

I can’t help feeling that tonight was one of those nights where nearly everything went wrong. I’m going to do my best not to let that colour my experience seeing Angel Olsen at Lincoln Hall tonight, but the fact of the matter is that this was one of those nights I wouldn’t have minded staying in and doing not much of anything. First of all Lincoln Hall was completely oversold tonight and more packed than I have ever seen it before (the previous holder of that title was Stars of the Lid in December). The bouncers even gave up on keeping the stairways clear—they settled on keeping one side of each stairway clear instead. It was so packed in there I had my first moment of legit claustrophobic panic in my life—during ‘White Fire’ the woman in front of me kept backing up into me and I was already cornered by a column and the ramp and railing on the left side of the room. I started to see stars, had trouble breathing and spent the entire song worried I might pass out. There were a lot of barriers to my enjoyment of the show—which happens sometimes when you go out in a giant crowd of people. Sometimes the rabble of nitwits you’re stuck in a space with can make it real hard to get your purpose accomplished, even if that purpose is something as simple as taking in some live music.

The opening band was deliberately chosen as a statement of intent it seemed—Promised Land Sound from Nashville, Tennessee did a great job of playing some very well-tread-territory type of music. There were flashes of the passion that Neil Young’s best songs exude, but they were only flashes. The lead guitarist did some impressive wah-wah work and had a lively, fresh approach. Everything else sounded rather generic. The only exceptions were when the band slowed things down and played something yearning and beautiful—again, a forecast for what was the follow.

Much has been made about the heavier, more rock-based sound of ‘Burn Your Fire for No Witness,’ which Olsen made with a full band. Where her previous work dabbles in country and Patsy Cline-esque 60s pop as well as some beautiful, plaintive starkness, ‘Burn Your Fire for No Witness’ features the sludgy pop rock of ‘Forgiven/Forgotten’ and ‘Hi-Five.’ Wearing a baseball cap that covered her face and chugging down beers for most of the set, Olsen was standing behind the more rocking material, but it was always the emotionally arresting beauty of songs that she performed from 2012’s ‘Halfway Home’ and 2010’s stark ‘Strange Cacti’ that held the crowd’s attention. Basically, it was the opposite of every other show I’ve ever been to—at this show people were heading to the bar to get another beer during the louder songs and everyone sat at rapt attention during the quiet songs. Considering what an anomaly this is I begin to struggle with the necessity of the rockier material—her best-written songs on the new album are the more emotionally bare pieces like the solo ‘White Fire’ and the cathartic closer ‘Windows’—those two tracks were the clear standouts of the evening from the new record. The band she’s assembled is nice and heavy and the songs sound fully fleshed-out and vivid (props to her for taking Implodes bassist Emily Elhaj along on this tour), it’s just that those tracks seem a little forced to me. Olsen is in her element most when she’s commanding a crowd on her own, which was true the first time I saw her at the Empty Bottle back in 2010—she’s one of the only performers I’ve seen bring the din of conversation at the Bottle to a deafening silence by playing ‘Some Things Cosmic’ by herself (which she ended with tonight as well). The full-band versions of older songs like ‘Free,’ ‘Miranda’ and ‘Drunk and With Dreams’ were magnificent as well. While I say that the more rocking songs on ‘Burn Your Fire…’ seem forced, it’s at least nice to hear that Olsen has a strong desire to push her sound in a different direction. One thing that ‘Burn Your Fire…’ has that her older records don’t is her fullest and richest-sounding vocals to date.