Racking Up Plays: “Nanobots” by They Might Be Giants

John Linnell and John Flansburgh are still They Might Be Giants. (via theymightbegiants.com)

John Linnell and John Flansburgh are still They Might Be Giants. (via theymightbegiants.com)

A song about robotics is hardly new ground for They Might Be Giants. According to This Might Be a Wiki, “the premier TMBG knowledgebase,” John Flansburgh and John Linnell have written no fewer than nine songs in which robots are a central theme, plus another five in which robots are at least mentioned. So, no, it’s no surprise that the pre-eminent nerd-rock outfit would release a song titled “Nanobots.” If anything, it’s a surprise that it took them 31 years to do so. (Well, the band predates widespread public familiarity with the concept of nanotechnology, but you get the idea.)

The title track to the band’s 16th studio album, “Nanobots” has also been designed to sound robotic. Overlapping with the chorus’ syncopated, ascending-scale melody is a competing vocal part based on the uniform, emotionless drone of open fifths—because, duh, that’s how robots sing. Continue reading

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Report From the Show: Cloud Cult with JBM at The Independent, SF, 05.09.13

Cloud Cult, The Independent, SF, 05.09.13

Cloud Cult, The Independent, SF, 05.09.13

Does everyone always remember the first concert they attended as a parent? I suspect music nerds and sentimentalists do. I’m both, of course, and I can’t think of a better show for my first outing as a dad than Minneapolis chamber-folk-electro-enviro-orchestro-pop-rock band Cloud Cult. So many of Craig Minowa’s songs are about parenting—the joys and the griefs—or are filled with a childlike wonder. The first words that he sang on stage at The Independent on Thursday night were, “You have eyes like mine”—and I immediately turned into a blubbering fool, hoping the strangers around me wouldn’t notice my eyes nearly brimming over. Not that your typical Cloud Cult fan would mind. Minowa isn’t shy about laying all his emotions bare, and his audiences love him for it. Continue reading

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A Taste of Things to Come: Cloud Cult at The Independent, SF

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Man, I’ve never been to a show with so little front lighting. Makes it awfully hard for your average, intrepid blogger to get decent photos from about five rows back armed with nothing but a camera phone. And that’s the truly important thing. We’ll see if I can work any magic in Photoshop. Boost them shadows!

Oh, and I suppose the Minnesota chamber-folk-electro-enviro-pop-rock band’s music was pretty mind-blowingly inspiring and amazing, too.

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The Annotated Decemberists No. 11: Odalisque

Perhaps no band’s lyrics better lend themselves to pseudo-academic analysis than those of The Decemberists. The Annotated Decemberists is an attempt to puzzle through the Portland, Oregon, group’s entire catalog song by song—examining all the obscure vocabulary, historical references and poetic subtext—or go crazy trying.

As we shall see, from the title, we can gather that this is a song about a concubine, or at least a woman treated like a metaphorical concubine. Few other clear details are provided. There are indications that the woman understandably does not appreciate her status as a sex slave, and that she came to her station by way of being born into ramshackle poverty. Her situation does not improve by the end of the song. It is a more serious, consequential and therefore less problematic take on a subject explored in the album’s previous song, “A Cautionary Song.” Musically, it is also the first indication that the band was capable of some epic prog-rock, the sort that The Decemberists would begin to really explore on The Crane Wife. Continue reading

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Racking Up Plays: “Hearts and Minds” by Son Volt

Jay Farrar was doing the shaggy Americana thing back when the guys in Fleet Foxes were in kindergarten.

These are the posts where I gush about some song that I’ve got a huge crush on at the moment, and you put up with it and listen because you’re a good friend.

“Hearts and Minds,” Son Volt

Returns to form: They’re just so dang comforting. I got the same feeling listening to the lead track of Son Volt’s new album as I did listening to the lead track from Wilco’s most recent release, back in 2011: “Ah, this is the sound of the band from back when I was truly excited about every little thing it did.” (And I know I should stop comparing Son Volt to Wilco and just appreciate each band on its own terms, but the two are forever going to be entwined in my head until hell freezes over and Jeff Tweedy and Jay Farrar decide to try to cash in on an Uncle Tupelo reunion tour that’s ultimately a lackluster disappointment. Maybe then I can move on.) Continue reading

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You Really Ought to Go See Kate Kilbane Perform Her Pop-Rock Opera Based on a Gruesome Greek Myth

Kate Kilbane performing her rock opera The Medea Cycle, 06.22.12, Red Poppy Arthouse, San Francisco.

Back in June I attended an absolutely packed performance at the Red Poppy Arthouse in San Francisco. People were standing in a hallway behind the performers catching brief glimpses of the band’s butts between curtains and amps because there was literally zero square feet of space remaining in front of the stage; I was lucky enough to perch myself on half a stool about 3/4 to the rear, so I occasionally got to see a face. The band hasn’t repeated that performance since that night. Granted, the Red Poppy is not much bigger than a spacious living room, but I think it’s fair to say there’s probably some pent-up demand.

What inspired such a fervent following? Was it some hot new low-fi, dubstep, bluegrass buzz band or whatever the latest trend is supposed to be? No, it was, of all things, a rock opera based on a Greek myth. Sure, why not? Continue reading

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PHOTOS: Trampled By Turtles with honeyhoney at The Fillmore, San Francisco, 01.17.13

alt-bluegrass band Trampled By Turtles

Erik Berry, Ryan Young and Dave Carroll of Trampled By Turtles.

One of the things I like about Trampled By Turtles—aside from the reaction that band’s completely ridiculous name elicits—is that it gives me some hope as a mandolin player. Not to say that mandolinist Erik Berry isn’t a talented, accomplished and impressive musician—he is all those things, and a far better player than I. But compared to, say, Punch Brother’s Chris Thile—whose playing style produces notes that flit and waft through the ether like the delicate scents of a lemon-butter beurre blanc simmering on the stove—Berry doesn’t make me want to pack up my instrument and sell it on eBay out of the despair of realizing I’ll never be able to produce those sounds. He and the other boys from Duluth play a sort of blunt-force bluegrass, pounding out notes with all the brutal honesty of a garage band that has just discovered Ralph Stanley and Bill Monroe. There is nothing delicate, nuanced or overly reverent in their approach to traditional acoustic music, and that can be an inspiration to clumsy-fingered instrumentalists like myself. Continue reading

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A Taste of Things to Come: Trampled By Turtles at The Fillmore, San Francisco

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Here’s Wisconsin Minnesota (oh, how embarrassing—truly, I do know the difference between Wisconsin and Minnesota) alt-bluegrass band Trampled By Turtles and opening act Honey Honey filling up the stage at The Fillmore. That’s a lot of strings up there. Dang. Sounded good, too.

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Rankstravaganza: My 15 favorite albums of 2012

collage of album coversLate, late, late. Here we are, one week into 2013, and I’m still posting postmortems on the music of 2012. And I used to be so good at meeting deadlines.

I’m sharing this anyway, because I think the albums on this list are deserving of more recognition, wherever they can get it. The No. 1 album, in particular, didn’t get nearly enough love form critics, despite the fact that the band was also featured at the top of both my mid-year and year-end lists of best songs. In fact, once again, there’s not that much difference between the bands featured on My 30 Favorite Tracks of 2012 and this list. What can I say? My favorite albums contain my favorite songs. Go figure. Continue reading

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Rankstravaganza: My 30 Favorite Tracks of 2012

Shearwater's Jonathan Meiburg

The band responsible for my favorite track of 2012 (photo by Greg Szeto, courtesy of Sub Pop Records)

Here is this year’s obligatory list-making, by the numbers:

  • 3 Bay Area acts
  • 6 solo female artists
  • 2 re-united ’90s bands
  • A ton of vaguely folky indie rock—no surprise
  • Just 2 hip-hop tracks—I apologize
  • 1 song that actually got some radio airplay

I make these disclaimers out of habit, I think. In my newspaper days, I’d always get readers complaining that they’d never heard of any of the entries on my year-end lists. I suppose I don’t have to worry about that now. But, still, don’t feel bad if Adele is the only name you recognize below. The end of December is all about discovering new music. I’m busy pouring over other blogs and publications, marveling at all the great songs that I missed out on. It is truly the most wonderful time of the year for music nerds. Continue reading

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