live review: volifonix, excellent gentlemen, & just people – doug fir – 8/11/11

You guys. I haven’t seen a live show in months. Months! I will be the first to admit that I have been No Fun and sometimes a Party Pooper. I’m not sure what got me into that rut, besides awesome video games. Seriously, Fallout: New Vegas has taken away a lot of my time. Plus I was kind of broke, from buying so many video games. While I do occasionally feel slightly bad for not leaving my computer chair some days, I really don’t regret buying video games or playing them with joy. I love video games. But that’s a blog post for another day.

My girlfriend’s cousin Peter is in a band called Just People, and he was arguably somewhat instrumental1 in getting her to stay in Eugene, OR, rather than flying off to Hawaii and never being heard from again. Peter is about to move up to Portland, and the rest of the band is already here, so whenever they play a Portland venue, we go, because they’re genuinely a good band, and Peter is an excellent guitar player, and their shows are always fun and lively.

Last night we made the trek to the Doug Fir to see these three bands play. I hadn’t been to the Doug Fir in a long time. Their burgers are still delicious. Their bartenders still take forever to acknowledge your existence. That mannequin in the window still freaks me out.
The venue wasn’t especially packed the entire night, which is a shame because Portland, for god’s sake, you need to go and enjoy this kind of music. No more Horse Feathers. No more twangy jangly Appalachian music. I’m sick of it. I’m sick of going to see a show and getting four dudes with huge beards, and one woman playing quarter notes on a violin, like before the show they gave her a goddamn lobotomy or something. It’s ridiculous. It’s time to embrace the funk. It’s time to, as Technotronic said back in 1989, “pump up the jam.” And thankfully, that’s what happened last night.

First band up was Volifonix, a quintet from Eugene playing a jambandesque funk mix that was immediately enjoyable. The lead singer reminded me of a jammier version of Electric Six (minus the humor). They also had elements of early Living Colour in their sound, which is always a plus in my book. Also their bass player, Elijah, was pretty knocked out, but really, he kind of has to be, considering that genre of music demands a strong rhythm section.

Anyway, they blasted through a great set, really set the bar high for the entertainment for the night. The highlight, of course, was when their saxophone player, Tomo Tsurumi, hailing from Japan, performed some awesome Japanese rap over a song called, I believe, “Wow Wow Wow Wow.” A woman I can only assume was his mother was in the audience, dressed, for reals, in what looked like a traditional Japanese kimono, and just looking happy as a god damn clam watching her son take the stage. I loved it. I lover her maybe more than the song itself, to be honest. It was sentimental, okay? So Tomo, thank you for that, and kanpai!

After Volifonix was my unexpected highlight for the show: Excellent Gentlemen. I must admit, up front, that I am a huge Stevie Wonder fan, as well as all the funk music I’ve gotten my grubby paws onto. So when Excellent Gentlemen began playing (I had no idea what I was about to listen to), I was blown away. They wear their influences on their sleeve – Stevie, of course, and some modern day Cee Lo as well2, and generally any funk band that uses a talk box (Roger Troutman, for example). They blew the roof off the place, to be honest. They were tight, they were confident, and their music was perfectly composed and excellently performed. And their drummer looked like he was a line cook at a restaurant. I just have to say that. Kind of off topic, I know, but never before have I seen anyone, much less a drummer for a band, and immediately thought, “That guy looks like a line cook!” I don’t know. It was the black baseball cap coupled with his shirt. He looked like a line cook! It was uncanny.

I would like to go off on a tangent for a bit. If you haven’t signed up for Spotify yet, please do so. It’s amazing, and even more importantly, you can listen to all the bands from this review there! It’s a hell of a lot easier to do this than to try and find their music to steal online. Look, I’ve stolen a lot of music online in my day, and that’s because there was no outlet to listen to music before I bought it. Spotify solves this. You can listen to an album and not feel too bad because there are some ads (or you pay a fee to remove the ads) and at least the band gets some of the profit. Not a lot, I know, but some.

Obviously, the best way to support a band is to see them live, and/or buy their merch, especially if their merch is self-released. The more money that goes straight to the artist, the better, I say. But at least with Spotify, you’re not outright stealing music from the internets. The internets is bringing you music! It’s saying, “Hey, here’s some music for you to listen to. Yeah, there’s some ads, and yeah, they are some of the most annoying ads you’ll ever hear, with some of the worst music you’ve ever heard, but at least you’re not a dirty thief, right?”

Alright, back to the topic at hand. Just People! I’ve seen them play a couple of times now and they always impress me. They’ve got a great following and really lively, engaging jamband music, without being too jambandy. You know what I’m talking about. I’m not a huge fan of the jamband scene, so I get leery at listening to those kinds of bands, especially ones I’ve never heard of before, but JP puts on a great show, and they defy the jamband stereotype by having strong lyrics and tight songs. Very upbeat and powerful. I was worried that, after the awesome performance from Excellent Gentlemen, maybe they wouldn’t be able to compete, but they did, and then some. Not that music is a competition, except maybe a friendly competition, wherein all candidates try to out-funk each other3.

And that was it! A really stellar night. This company called AudioGlobe was streaming the show for free on their website, and making copies of the show for people who wanted to pay five bucks. So I now have a live set of Excellent Gentlemen from that night. Pretty sweet!

  1. Is that a pun? Oh lord.
  2. Of course, Cee Lo wears his influences on his sleeve as well…
  3. Don’t confuse this with the hipster version of “out-funking,” which is when they compete to see who smells the worst.

2010 end of the year mix!

Merry After-Christmas!  Egh, that sounds so gross.

I decided this year to get myself involved in the “end of the year music list” sort of stuff that always goes around, so I picked out 30 of my favorite tracks and wrote a little blurb about each one of them.  I also made you a mix!  I did it because I love you.

Here’s the link to the mix, which you can download and then listen to while you’re reading this friggen blog entry!  It’s the future!  The future is simultaneous!

Enjoy!

(Oh, and these aren’t in any particular order. I hit “randomize” on Winamp like ten times and this is the order that it set up.) Continue reading

a new album?!!!

So here’s my thing:

I’ve got about ten tracks, written during FAWM 2010, that rock, and I am putting them into an album for you, the reader and eventual listener, to enjoy.  The album is tentatively titled Last Night in America, and will be released sometime in January 2011.  Here’s the tracklist:

01. Saturday
02. Tumbler of Love
03. Listen (is This the End?)
04. Last Night in America
05. Row You Row Your Boat
06. Maybe Not
07. Back Where We Started
08. I Give Up1
09. Counting the Days
10. Listen, This is the End

(You should think of the album like a vinyl, with two sides, 1-5 is side A and 6-10 is side B.)

I don’t have cover art or even finally mixed tracks (I have to redo the bass parts with the actual bass I now have, instead of pitch-shifting my guitar down an octave), but I’m shooting for a release date of January 25, 2011.

The rest of the year will, hopefully, see the release of three more albums (one every three months or so) as I clean out my back catalog of material.  I have a lot of stuff I’d like to get out there for you to hear, it’s just a matter of preparation!  Each album will have a totally different feel from the last.

Anyway, stay tuned to this blog for more updates on Last Night in America and other music news.  In the meantime, why not take a stroll down my Bandcamp (that sounds naughty) and listen to some of my other stuff? Yeah? You like that?  Yeah, you like that.

  1. A Cow Exchange cover.

musicfest northwest, 9/11, the decemberists, pioneer courthouse square

That is a long title.

So I didn’t get a pass to MFNW this year.  I know that’s become a sort of big thing that I write about on this blog1, but I was relatively broke and I only wanted to buy a VIP pass, considering how awesome it was to have a VIP pass last year.  But I couldn’t afford it and then they sold out of them so blah blah whatever.

But by various circumstances, I was lucky enough to snag my friend Lisa’s second ticket to the Decemberists show in Pioneer Square tonight, and in a word, it was excellent!  The show, not the ticket.  The ticket was quite average looking.

The lineup was Weinland, Blue Giant, Laura Veirs, and The D’s.  These are all bands that are local, and all great.  So let’s just start from the start, shall we? Continue reading

  1. I actually have a draft saved of my last day at MFNW last year, which I will probably never post.  Sorry about that.

some more words on weezer

The change began after Maladroit.  Maladroit was the album practically picked by the fans.  Weezer demoed all the songs on their website, and fans said which ones they enjoyed and which they didn’t, and Rivers (sort of) made an album from that.  And they even asked the fans to name the album, and they (the band) picked Maladroit.  Which sounds fitting, since critics and old school fans alike tend to believe that Weezer’s career post-Pink is a bit maladroit.

But when you look at the direction of Weezer — or really, Rivers’ — songcrafting, rather than his songwriting (which, let’s be honest, is pretty crap lately), the whole spectrum has changed.  Weezer went from an emo-indie rock quartet to a bloated mainstream power-rock-pop explosion, except instead of writing the type of songs a typical rock band would write, Rivers writes songs about going to the mall.  So, his images are a bit more positive than they used to be.  He’s a happy guy, what can you do?

The Green Album and Maladroit, however, were both still in the vein, musically, melodically, as Blue and Pink.  There were slight deviations, but for the most part, it was the Weezer Sound, complemented with Rivers’ pure, honest vocal quality.  And in the end, you had two great albums, albums that arguably defined a generation, and then you had a long break followed by two good albums, but poor albums when compared to the first two.

And then you had Make Believe.

The first issue arises in the title: it’s not a color album.  The routine was set: Blue (color), Pinkerton (nicknamed Pink but not technically a color), Green (color), and Maladroit (not color).  Make Believe broke that mold, and ended up breaking a lot more molds in the process.  Musically, the sound had changed.  Lyrically, Rivers gave up writing about things close to his heart and started writing incredibly insipid lyrics.  Again, the band was having fun, but at the cost of, well, musical credibility.

And now we’ve had Red, Raditude, and now Hurley.  There have been some good songs on these albums, but none of them sound like the Weezer Sound.  They have a new, more surfacey rock sound that’s just not very unique anymore.  Gone are the quirky songs like “Undone (The Sweater Song)” or “El Scorcho.”  In place are songs like “Beverly Hills” and truly awful songs like “We Are All On Drugs” and “Heart Songs.”

However, there are songs that have a Weezer Sound to them.  ”Perfect Situation” is a good example.  It opens with a rising riff that is reminiscent of the summer 2000 demos.  The lyrics aren’t great, but hell, you have to acknowledge that Rivers guitar riff at least.  I think “Perfect Situation” is the best song on Make Believe (and not just because Elisha Cuthbert is in the video…).  I like songs like “This is Such a Pity” because they sound different from the typical sound, but they also just don’t sound like Weezer.  ”Peace” actually sounds vaguely Weezeresque too, but it’s just too cookie cutter.  ”Pardon Me” also has a Weezer Sound opening.

The funny thing about Red and the albums that follow is that the b-sides actually sound a lot more like Weezer than the albums proper do.  ”Turn Me Round” is great, and “All My Friends Are Insects”1 from Hurley is really enjoyable.  It’s short, it’s got a fuckin rad guitar solo, and it’s lyrics are simple but suggest something more (as in, all my friends are insects because I’m a loser).  Really, Hurley in general seems to hearken back (both in style and literally in the lyrics) to the “old days,” which I guess for Weezer is back when educated people over the age of 16 gave a shit about them.  It’s not anywhere near Blue or Pink, but it sounds more raw and emotional.

So I’m going to write one more blog about Weezer; specifically, I’m going to compile my ten favorite post-Green album songs in what I would consider to be a Good Weezer Album.  I’ve been wanting to do this for a while, and now I get the chance.  I just like to talk about Weezer in this “I sound like I’m stoned” sort of way.  They’re a band that really influenced my entrance into the world of indie rock and power pop, and despite their later albums not being so great, they’re really fascinating to follow.  So now, sleep, and tomorrow (maybe), another blog!

  1. Okay, I guess “deluxe edition” tracks are b-sides, right?  They’re not on the album proper.  Or something.