Music

Akron/Family: Set ‘Em Wild, Set ‘Em Free

Set 'Em Wild, Set 'Em Free

Shortly after the release of their 2007 release, Love Is Simple, Akron/Family faced the amicable departure of a founding band member, which, for a four-piece band whose music features striking bouts of improvisation, could have been the end of the group. However, after tours that incorporated Megafaun and Greg Davis (both as openers and onstage with Akron/Family), the remaining trio slipped into the studio to record their followup release, Set ‘Em Wild, Set ‘Em Free. In doing so, they have concocted another bold work of psychedelic freak-folk that is a treat for fans everywhere.

Opener, “Everyone Is Guilty”, picks up where the last record left off, opening with an afrobeat groove, chant-like vocals and a swirl of keys and strings, and charging guitars. I’d swear one of the breaks could be from a YES album except that YES albums never had looseness of the band. “The River” sounds very much as if it could have been on the previous album (which, if you’ve read my review, you’ll know that to be a high compliment.)

“Creatures” strikes, at first, as more of a departure, sounding a bit like a stripped down Animal Collective number but it is followed directly by the straight acoustic guitar/vocal dreamscape of “The Alps & Their Orange Evergreen”.

[youtube]http://www.youtube.com/watch?v=M1l2CYWpfqo[/youtube]

“Set ‘Em Free”, whose lyrics lend the album its name, is simply a gorgeous cascade of acoustic and steel guitars backing a simple vocal. This leads to the ragged horns of the intro to the album’s longest number, “Gravelly Mountains Of The Moon”. This one evokes the abandon of the group’s live shows with wild electric guitars manic drums and vocals. This might be the true test. If you put on this album and are willing to listen beyond this song, you may be a true fan.

Once you’ve passed the test, you’re set enjoy the pleasant melodies and harmonies of “Many Ghosts” and the ripping, instrumental, power-trio attack of “MBF” (complete with appropriate screams and laser chaos noises.)

From the wreckage of “MBF”, comes the slow chanting intro of “They Will Appear” which breaks into an exuberant, galloping, climax.

“Sun Will Shine” follows with a simple, repeated lyric, “Sun will shine but I won’t hide” that is carried by an almost gospel tinged positivity before lifting into more typical stratospheric terrain and finding itself in the midst of a drunken Salvation Army rendition of Auld Lang Syne. This followed by a single piano accompanying the groups vocal harmonies on the brief, slightly sad yet optimistic number, “Last Year”.

[youtube]http://www.youtube.com/watch?v=aVMaUP0Ca3E[/youtube]

Ending an album on a “downbeat” song is, I suppose, a risk for some bands but Akron/Family clearly is not “some bands”.  Both live and via LP they set out to lead you on a journey from here, to who-knows-where and back again and this record accomplishes the mission beautifully. By all means, pick it up and go see them live.

Here’s a recent in-store performance from Amoeba Records:

-rj

http://www.akronfamily.com

Phish: New Single Drops, Tour Set to Begin

If you are any kind of Phish fan, you already know about the new 13 minute single released this week via iTunes, “Time Turns Elastic”.  (It’s also streaming on their myspace if you do not mess with iTunes.)  The band announced it the same way they announce anything these days- with a video on their website:

[vimeo]http://vimeo.com/4838833[/vimeo]

I have to confess, the video makes it sound pretty rockin’ and awesome. But, isn’t this the same piece that Trey composed with a classical conductor and debuted with Orchestra Nashville?

Of course, it is.

But it has been craftily re-arranged for the quartet. Just do yourself a favor; don’t go expecting this to be “You Enjoy Myself”.  What we have here is an epic piece with some pretty cool music and, honestly, painfully heartfelt lyrics that often do not make any sense (except, hopefully, to Anastasio, himself.) I suspect that much of this is about the journey Trey has been on over the past few years since he broke up the band, got arrested, went to jail and got sober. I further suspect that this is song that is very dear to Trey and will figure prominently throughout the upcoming Summer Tour. But, that being said, the vocals are mixed too far out in front of the band. Trey’s voice is not better than it was when they recorded Billy Breathes and couched the warm, half-spoken, vocals neatly within the mix. The lyrics aren’t better either. So why must they be thrust out in front with almost cringe-inducing effect?

I’ll stop bashing it now… It’s not a complete loss. Many of the sequences feature very promising music that I hope will expand nicely onstage.

Speaking of which, do you realize that leg one of Phish’s Summer tour starts this weekend? It all kicks off at Boston’s Fenway Park on Sunday.  It’ll be another week before I get to see them, but I hope to bring you guys some first-hand commentary from the road as soon as possible. And maybe, just maybe, we’ll see you there!

The Decemberists – The Hazards of Love 

Note: This review was written in March but, for some reason, never posted. Enjoy.

After skirting the spectre of the concept album on their previous release, The Crane Wife, The Decemberists have returned with a full blown, unabashed, concept record that is bound to continue their growing fame.

I was going to try to write a song-by song review or a narrative of my listening experience but, breaking this album down in such a way does it no justice. I could attempt to recount the tale told on the album but that too would not do it justice. From the “Prelude” as it eases into life from distant rumbling to rushing organs and guitars through the passionate “Wager All” to the heavy guitars and vocals of “The Wanting Comes In Waves”, this record has everything one could want from The Decemberists.

They have grown in leaps with each record from the arcane folk shanties on the early albums (wherein the band felt to be far more of a backup instrument to Colin Meloy’s songwriting) to the 18 minute epic single, The Tain, to their last album The Crane Wife on which they began to embrace their capacity to rock. Now they submit a work that flat out rocks with mastery. They steer from quiet, romantic, ballad to balls to the wall power chords and back again deftly and with purpose.

Meloy’s well crafted songs are as strong as ever; rather than be overshadowed by the heftier arrangements they thrive and live in a world all the more vivid. “The Rake Song” contains the darkest of Meloy’s work of late telling a dire tale of a man who, upon finding himself a widower left with three children, seeks to divest himself of “burden”. Wow. Dark but a strong and even catchy song. “The Wanting Comes In Waves” was an early favorite but, after a few more listens, I think that that “Wager All” has surpassed it in my personal estimation. Honorable mention to the flat-out metal (ala early Tull or Sabbath) on “The Queen’s Rebuke/The Crossing” that number straight rawks.

All in all, this is a fabulous record which proves that The Decemberists are far more than an indie flash-in-the-pan. These guys are a dynamic and growing group that has clearly a lot more to offer than a few pretty songs. Buy this record (yes, I said “record” it is available on vinyl) and give it repeated listens. Best if played through in a sitting rather than shuffled on your iPod, this album reveals itself more and more with each listen. This is a must-buy record folks, and is likely to appear prominently atop many top ten lists come December and January.

Btw, the cd and lp are available everywhere but I can’t say enough about the friendly customer service at The Decemberists’ online shop. Check them out, buy this record and any of their previous releases that you might have missed. Did I mention that all of their albums are available on vinyl?

 

http://www.decemberistsshop.com/zencart/

Phish Is Back

I’ve tried several times to wrote some sort of a review or narrative of the three reunion shows in Hampton and I’ve repeatedly drawn up short of words. It was a weekend about more than the featured music; the shows were a test of the resolve of a band that is attempting to revive itself in it’s third decade. They were a statement of intent to go forth and serve the music and its fans with the integrity that they each deserve. They were an apology for the failures of the past. How does one rate a rock band on these criteria?

Let’s cut out the objectivity for a moment and say these shows were fun, fun, fun. Being at the Coliseum with both old and new friends, soaking up the rare March warmth, dancing up a hot sweat to songs that I’ve enjoyed for ages and missed for nearly half a decade… How can you go wrong with these things? Well, as anyone who witnessed the 2003 Hampton run can tell you, it’s possible. Phish, however, seems to want to make clear that they have learned from their past. How do they do that? Lets start by opening with “Fluffhead”; a challenging and angular suite written in the 80’s (in the era of some of their most elaborate works,) that had not been played since 2000. In an interview last year, bassist, Mike Gordon noted that it was not played “Post-Hiatus” because it required more practice and dedication than the band was willing to apply. If playing “Fluffhead” (and playing it well) is not indicative of a reversal of those circumstances, I don’t know what is. Perhaps following it with one of their masterworks, “Divided Sky”?

Coming back to the stage with two of their most technically demanding compositions is not just a ballsy call; it’s a declaration of intent. Phish is reborn and ready to work; not just for our adulation which, truth be told, can sometimes be easily won, but also for their own self respect. From that stage, Phish tackled the monkeys upon its own back and showed that they do have the chops and mettle to stand at the top of the “jamband” heap. Continue reading →