overcome by music: a house show

This weekend was drenched full of soul-refreshing music, to the point of overflowing.

So wow, in the span of 24 hours, I got to see The Head and The Heart combust their second sold-out show at Moe’s in Denver before a happy, sweaty crowd (including them dedicating their encore song “Gone” to a very blushing and shocked me), record my very first two acoustic Fuel/Friends Sessions in an empty stone church (stay tuned!), and then host a joyous house show for a packed crowd of about a hundred enthusiastic music fans. It literally was too much for me to absorb, leaving me totally zoned out and kind of wordless on Sunday after the bands left.

This is the condensed, live-wire way that music is supposed to be heard and felt.

At both the Friday night show and the Saturday night house show, one thing that amazed me about the audience was that this time around, it felt like everyone was singing along to all the words for The Head and The Heart’s songs, just in the span of four months since the last time they were here. It was amazing to stand in the sea of that. I also was introduced this weekend to the music of both Ravenna Woods and The Moondoggies through stripped bare-bones performances. Ravenna Woods opened the house show with frontman Chris Cunningham pacing and roiling across the floor with a contained fervor and a song to sing. With just one drum and a xylophone backing him up, their music soared – and they ended with a cover of Radiohead’s “Karma Police” that was driving but haunting. They really made it their own.

The Moondoggies were even more elemental, relying mostly on their four voices to carry the audience along with them. They were also the first of the bands to breach the imaginary stage line on the carpet, pushing into the audience which immediately enveloped them and stood with appreciative smiles on their faces. Their humble, affecting four-part harmonies (reminded me a lot of Neil Young) with the round notes plunking out from the banjo are definitely something I have to check out more – I just downloaded two free mp3s from their label Hardly Art.

Kelli Schaefer was so good that I almost had to excuse myself for a moment — the pounding, intensely gorgeous waves of her music were threatening to drown me, if that makes any sense. Ask anyone who was there or who has seen her live: there is something astoundingly special about this girl. Not only can her voice command a room with seemingly no effort on her part (the best definition of a gift?), but her lyrics read like the truest gospel I’ve heard in a long time. The crowd pushed up close around her at her request, so we were face to face in the strongest of communions.

Trying to see all our faces, she climbed atop a chair to sing the riveting “Better Idea” from her new album. Her searing words grapple with the divine meeting the profane; in this song she sings, “Well I can’t treat my body like a temple when it is failing / are you kidding / was that your plan to keep my grounded? It’s not working / and this seed that you have planted is needing things that I can’t give it.” Instead of watching Kelli as she sang, I too watched everyone in that room, and saw a host of intense darknesses and joys flicker across their faces.

The Head and The Heart started their set in the waning minutes before midnight to a room that had sweltered and convected to sauna temperatures, a stark contrast to the refreshing night outside. I appreciate the freedom inherent in a house show that seems to make artists more willing to try out different arrangements and versions of their songs. Last time, THATH did “Cats and Dogs” totally a cappella, and this time it was a stripped-down and resonant version of “Lost in My Mind” that delighted us. And when they lit into “Sounds Like Hallelujah,” I was a bit worried about the stability of the floors in supporting all that dancing.

The house show got some pretty rad coverage, with folks in attendance from KEXP, The Denver Post (for Sunday’s paper?!), and the Seattle music blog Sound On The Sound. I am grateful that they were also there with their lenses and their journalism because as we’ve established, I was completely overwhelmed in all that happiness.

A few pictures and words from KEXP’s James Bailey (full article here, gorgeous shots) who made the trek from Seattle:

(Ravenna Woods, opening the evening)

(bartending Charity invented the signature drink of the evening, The Whiskey River)

(we were actually singing David Bowie’s parts from Labyrinth. wow.)

Also! The silvery screenprinted posters for the house show turned out even more stunning than I had thought. We have some left, and even if you weren’t there, you might like this lovely piece of art of your walls. They are for sale now over at Jupiter Visual for $15.

Our show caught all four of these bands on their peregrine journey down to SXSW, so if you are also (like me, in the morning, once I, uh, pack) please check all of them out. So very worth being on your shortlist. And remember I have David Bazan coming through next week as well (from Pedro The Lion), with tickets still available.

I am ready to do this again. Just give me a few months to recover.

[all my pictures are here; top photo & Kelli Schaefer bluelight shot credited to Michelle who first told me about this great band playing a tiny venue by her house in Seattle…]

we can shake but can’t control

One of my favorite reader/commenters Adam beat me to compiling a Springtime mix, so completely loaded with terrific songs from artists that I had not yet heard much of yet, but fit this nascent springtime glow I am feeling lately. I am reveling in his selections from folks like Hooded Fang, Lemolo, James McMorrow, New Animal, Andrew Belle, and Seryn.

The Seryn song he chose was instantly my favorite on the mix, because it builds up that same type of barely-contained, loosely chaotic joy inside me as that Matthew and The Atlas song did a few months back. Simply marvelous – take a listen.

We Will All Be Changed – Seryn

Seryn are from Denton, Texas and their rainbow-washed debut album This Is Where We Are is out now via Spune/Velvet Blue Music. And they are also playing SXSW!

03/17 – Austin, TX @ SXSW Stage on Sixth / Paste Magazine Showcase 1pm w/ Sarah Jaffe, J. Masics
03/18 – Austin, TX @ SXSW Showlush’s Backyard / Ramble Creek Party 4pm w/ Telegraph Canyon
03/19 – Austin, TX @ SXSW Domy Books / KVRX show w/ Castanets

Now (right now) — listen to Adam’s whole Springtime 2011 mix right here, because you will love it:

there is nothing you have done that has been wasted

I am pretty excited about the Pacific Northwest Invasion (take 2) that is happening this weekend, with the show I am presenting Friday night at Moe’s in Denver (win tickets below!), and then the super-rad intimate Fuel/Friends House Show on Saturday night. All the bands playing are amazing. But I am holding a special reserve of anticipation and trembling for the power that I know comes with Kelli Schaefer.

Kelli opened my very first house show I held, back in November. I have not seen anyone like her. The way she can transfix a room with her somber, strong songs is astounding and when she lets her rock howl loose, hairs stand up on end. Back in November, I recognized the vibe in that room when she played to Jeff Buckley and the Grace album – the bluesy guitar sang and wept while Kelli punctured each song through with startlingly dramatic imagery and beautifully conflicted lyrics. I think we all felt something special crackling in that voice.

She is coming back through here on her tour down to SXSW in support of her masterpiece new album The Ghost of The Beast. I had a really difficult time picking which track to feature from the album, because it is so varied that no single song is representative of Kelli. But this is the song I immediately listened to the most, a benediction of the steadfastness of love and the quiet joy found in holding up others even when our arms are shaking. Listen to that scritchy-scratch opening loop; this song also showcases the intricate ambient noises that Kelli works throughout her music, like you are digging them out from the sounds of the day.

And when she sings here that there is nothing we have done that has been wasted, I believe her.

Gone In Love – Kelli Schaefer

Similar to the organic growth of Drew Grow (who produced the record), Kelli’s full-length comes from collecting a series of singles that she has released in Portland over the last year through the Amigo/Amiga label.

It’s a scavenger approach which yields a surprisingly cohesive album here, but one that defies classification nonetheless. There are times the record feels like waking from a dense sleep (on songs like “Trinkets,” layering through ambient noise), as if Kelli is somewhere singing through dark cotton and vintage microphones. Other songs layer her vocals into an enchanting siren choir (“Home”), or let loose with riffs that would make Led Zeppelin turn an ear. Kelli sings honestly about something called “The Fury,” which one could imagine is an artistic inferno, or the struggles we have within — or something else entirely. In one of my favorite lyrics on the album, she sings:

God would you send me somebody
who understand the fury
who understands the fury well?

He’s gonna have to be a fighter
gonna have to know the story
strong enough to tell it to me when I’ve lost my head
when I’ve lost my head

The way she sings it (that last line, especially) gives me chills every time. This is a woman who seems to see inside of me in a way that not many female artists do.

My other favorite is found in the gothic sonic layers of the title track, “The Ghost of The Beast.” Listen below; it’s sharper and shows some of Kelli’s punkier chops. I’ve spent repeated listens trying to figure out what that sound that starts the song is, and I finally just learned it is Drew Grow scraping a shovel across the ground, and looping the noise. It is disconcerting and perfect.

I contributed to her successful Kickstarter campaign, and earlier this week the album arrived on vinyl. The cover art features a ribcage cut delicately out of paper – protective but delicate, able to be torn. If you come and see her this weekend in Colorado, or buy the album and listen with headphones, I guarantee you will be transfixed.

TICKET GIVEAWAY
I have two pairs of tickets to give away to see Kelli Schaefer tomorrow night (Friday) at Moe’s in Denver, next door to the Gothic. She is opening for The Head and The Heart & The Moondoggies (all of whom will be playing my house show Saturday night!). It is going to be a tremendous show. Please email me if you would like to be entered for a pair. Come early – Kelli is on first Friday, around 8pm, and you do not want to miss her.

[top image credit Charity Burggraaf]

alone at the end of the day, i am just like the gathering fog

If you are somewhere that you can wrap something warm around you and drink something hot from a mug, you should probably do that for this gorgeous, translucent song. Robin Pecknold of the Fleet Foxes recorded three acoustic demo songs a few weeks ago in Los Angeles, one with Ed Droste of Grizzly Bear, and he released them into the world last night via twitter.

Their voices blend together more perfectly than almost any two I can think of. Haunting and beautiful.

I’m Losing Myself (with Ed Droste of Grizzly Bear) – Robin Pecknold

Also released from this session are Robin’s new solo song “Derwentwater Stones” and a cover of Chris Thompson’s “Where Is My Wild Rose.” Download all three songs here.

limited edition poster for the house show with The Head And The Heart

Well if this isn’t just about the raddest thing I’ve ever seen – voila, I present to you the limited edition screenprinted poster that we are going to have available at my house show next Saturday night with The Head and The Heart:

(UPDATE: Buy one online here!)

The tree will be shimmering in silver ink, which I think is amazing with the dark blue and red. Alan Peters of Jupiter Visual in Denver offered to design something to commemorate the night and I am so pleased with what we came up with. Alan is an uber-talented poster artist that I’ve worked with once before for that Lucero poster giveaway. We’ll have hand-numbered copies (100 of them) to sell next Saturday night for $15 each.

Tickets are still available for the show for now, which will be a mini-Pacific-Northwest invasion with Ravenna Woods, The Moondoggies, Kelli Schaefer, and The Head and The Heart.

Um, so basically amazing. See you there.

don’t haunt this place

Some friends were talking about Godspeed You! Black Emperor this last week, a band that I have never listened to (other than knowing that they have one of the best-titled albums ever). Since comparisons to Explosions In The Sky were being made, my interest was of course piqued. Then I watched this haunting, empty video using their song “East Hastings” and it totally changed the way I will forever hear their music. Rarely so perfect of a soundtrack aligns with the visuals…

(you thought the title of this post meant maybe I was writing about Rural Alberta Advantage? Well, that’s coming at some point because I can’t stop listening to their new album while I am drowning in work and taxes and grad school applications and FAFSAs lately. It is surprisingly good accompaniment to all of those things)

with a little bit of love and a little bit of yeah yeah

Last night I was watching the Oscars, eating homemade fajitas, and mercilessly critiquing everyone from our comfy couch perch (oh, and Trent Reznor? Winning an Oscar? ..add that to the list of things I never thought I’d see when I was 16 and rebelling by listening to Pretty Hate Machine loudly on cassette in my 1987 Nissan Sentra).

Suddenly, amidst the self-congratulating by Hollywood for itself and victorious weeping, my ears perked up from a song in a commercial that sang charmingly about a little bit of love and a little bit of yeah yeah. It sparkled with both of the rich, seeping warmth and rasp of M. Ward along with the sweet folksy songwriting of Simon & Garfunkel — who was the artist behind this little song? Because I loved him, immediately.

Turns out I did love him actually, already.

The song is one of six new ones penned by Sam Means, half of the now-defunct The Format, for the 2008 indie movie The Sinking of Santa Isabel, about a fellow who goes to live in a treehouse. Sam has always been an amazing songwriter who uses classical sunny pop structure with a refreshing and humble spark, so now that I’ve listened to it a good dozen times — of course it’s him. I’m sorry it’s taken me so long to find it.

Yeah Yeah – Sam Means

Soundtrack for The Sinking of Santa Isabel is available here.

how do i get there?

My flip-flopped friend out on the sandy beaches of Florida sent me a tune this week from Akron/Family‘s new album, and I put it on repeat for most of the day Wednesday. This is a big, expansive, primal celebration that has more in common with Sleigh Bells and Yeasayer than the communal freak-folk that I associate with some of their past music.

Silly Bears – Akron/Family

It’s a bright aural assault from their newest album with a Flaming-Lips-worthy title, S/T II: The Cosmic Birth and Journey of Shinju TNT (out now on Dead Oceans). I find it addictively good. According to the album descriptions, “It was recorded in an abandoned train station in Detroit with the blackest white dude we all know, Chris Koltay (Liars, Women, Deerhunter, Holy Fuck, No Age).” How could it not be rad?

I don’t know the music of Akron/Family very thoroughly, but they’ve got their bright spots in my musical library for sure. I do remember being immensely impressed with I saw them at Coachella in 2008 because they had not one but two drummers. That’s enough to woo me. That new track reminds me of the crazy cacophony of “Ed Is A Portal” from their 2007 album Love Is Simple, of which I wrote one time “I’m pretty sure there are some passing Hare Krishnas involved here.”

Ed Is A Portal – Akron/Family

But sometimes they also put aside the riotous tambourine joy in favor of deeply lovely songs, like the straight-up Strawberry Fields of “Don’t Be Afraid, You’re Already Dead” (love is simple). And Akron/Family also started my 2010 with a gorgeous simple hymn that was my theme for last year in a fantastic way. This year is gonna be ours, indeed.

we’re gonna rattle this ghost town

Two posts in a row about the same band? Yeah, because I can’t stop listening to this acoustic version of Walk The Moon‘s “Anna Sun” recorded in someone’s living room. I ripped it to mp3 on Thursday and I think I have listened to it a few dozen times since then in hotel rooms and airplanes all weekend.

The musical joy here is unmitigated. And terrific.

Anna Sun (acoustic living room version) – Walk The Moon

live my life without coming up for air (we got no money but we got heart)

From Thriller to the Britney Spears school hallway to OK Go’s backyard moves, I am forever warped by the stupid joy in communal dance scenes and find myself constantly half-wishing that one would form around me, flashmob style.

Therefore I can’t stop watching this video from unsigned Cincinnatti band Walk The Moon. The song itself is a hook-filled catchy little number, and the video is filmed in a maze-like cavernous building that looks like just the sort of place I’d love to explore. I do hope I’d end up in the basement, because that’s where they go and bust out into an Eighties-tastic dance scene. Just try and watch without smiling.

Recommended if you like The Killers and The Format and dance parties. I hope these guys are playing SXSW next month.

Anna Sun – Walk The Moon

[thanks Ben]