Long and short pieces on music you should listen to; audio gear; and pop culture.

Category: Reviews (Page 2 of 2)

Review: Kurt Vile, Bottle It In

I am a massive fan of Courtney Barnett.  She showed up on my radar NOT when her 2015 album Sometimes I Sit and Think, and Sometimes I Just Sit, was released, but instead when she appeared on the 2016 finale of Saturday Night Live, performing “Nobody Really Cares If You Don’t Go to the Party” and “Pedestrian at Best.”  Her performing style is completely without artifice – she tears it up, but you always know she’s having as much fun as you are.  Her songs are literate, funny and often moving, the best ones almost stream of consciousness, like “Dead Fox”, and “Depreston”.  “Elevator Operator” is firmly planted in my long run playlist, and will never leave my iPod. 

Anyway.  After Sometimes I Sit And Think, I waited – like everyone else – for a followup, and was more than “partially” rewarded the following year with the album she did with Kurt Vile (yes folks, not just a clever nom de plume) Lotta Sea Lice.  The two had jammed together and decided to record a collaborative album, which turned out to be greater than the sum of its parts.  These kinds of pair ups can often be just the two artists dividing things up – five tracks for you, five tracks for me – but these guys melded their styles so well you’d have been forgiven for thinking that they were not bandmates of, say, twenty years or so.  Every track is charming, especially Vile’s Over Everything

Barnett returned last year with her excellent Tell Me How You Really Feel,  and recently it was Vile’s turn.  Bottle It In treads the same turf as Sea Lice (n.b. that’s good!), but it’s a little more electric in nature.  Supporting players like Sonic Youth’s Kim Gordon add extra feel and texture to the songs, and Vile unspools a filthy guitar solo on “Check Baby” (containing the all-world lyric “rub my belly with a stick of hot butter”.)  You’ll like this. 

[A word about sound quality: it’s excellent.  I got the 180g split-color vinyl pressing; Matador Records is definitely sourcing from a good pressing plant, as my copy was clean and free from surface noise.]

Dirty Dozen Brass Band w/Cha Wa at The Sinclair!

I was first exposed to the significant funkiness of the Dirty Dozen Brass Band on Elvis Costello’s Spike, a sprawling and diverse record where Elvis dips his toe into a lot of different styles, but most of the tracks are firmly rooted in the Crescent City.  On the best tracks, Elvis is backed by New Orleans musicians like the late, great Allen Toussaint on piano, and the Dirty Dozen Brass Band, the latter of whom have been getting after it for 40+ years now.   Maybe my favorite Elvis Costello track of all time (and there are so many to choose from!) is Deep Dark Truthful Mirror, on which the DDB just shine.  It’s Elvis’ song, but the band owns it.

The band is on a 40th-ish anniversary tour and they rolled into town on Sunday night to play a “Mardi Gras” date at The Sinclair in Harvard Square with opener Cha Wa.  Mardi Gras masks and beads for everyone!  Both bands just smoked it last night.  The DDB drew upon their deep catalog to keep the crowd moving, and played a couple of numbers that were almost jam-band length!  Laissez les bons temps rouler, indeed. 

Dirty Dozen Brass Band, bringing the funk

But a few words about the opener, Cha Wa: these guys just brought it.  Now, opening acts have a steady hill to climb.  Nobody barely knows them, and often times people are looking at their watches or heading to the loo or the bar before the headliner comes on, so it’s hard to get the crowd’s attention.  From the first downbeat, the band (a subset from the sprawling group that records in the studio) had the crowd up and dancing.  They effortlessly moved from song to song from their great CD Spyboy, and by the end, everyone in the room knew who they were.  I met them at the merch table after their set, and they clearly felt as good about their performance as we did.  A bunch of nice and talented guys worth keeping an eye on (check out their CD Spyboy, which was nominated for a Grammy!)

Cha Wa, with J’Wan Boudreaux on lead vox

Sharon Van Etten at Royale!

Sharon Van Etten‘s newest release in almost five years, Remind Me Tomorrow, dropped about two weeks ago, and has been in heavy, heavy rotation at Wow and Flutter ever since.  Van Etten had been on the edge of my radar about two years ago, until her appearance on Part 6 of Twin Peaks season 3 caused me to run out and get a copy of Are We There? so I could play “Tarifa” on repeat.  Which I did, but Tarifa isn’t even the best song on that album.  It’s a strong, polished effort but there’s an undertone of a much harder edge to come.

Remind Me Tomorrow is that harder, faster, and louder edge.  Sharon, working with producer John Congleton, brought in lots of synthesizers, which haven’t exactly been plentiful in her previous efforts.  But it works: it’s hard to imagine songs like “Seventeen” and “Comeback Kid” working as well as they do without all those synths dripping of those songs.  She’s successfully taken her already genuine, thoughtful songs and grafted, like, five rock bands on top of them.  Seriously: the single “Seventeen” is a legitimate cross between “Thunder Road” and Arcade Fire.  Try not pumping your fist.  It’s a great album.

And “Seventeen” was the emotional high point of her set at Royale tonight.  I’d been hoping to catch her for a while, and this was a great time in the tour to see her.  It was the third date in her tour supporting the album – Van Etten and her band play the Beacon Theater in NYC tomorrow (with Fred Armisen!) and they sounded GREAT.  They’ve definitely hit their stride, and the band was tight. Big props to her sound crew and the Royale, too: it was one of the cleanest mixes (including for the up-and-coming Nilüfer Yanya, who opened) I’d ever heard.

Update 2/9/18: Setlist is up. The Sinead O’Connor cover was a nice addition to the set.

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