The wet, wet glory of Monolith 2009 (come see what we saw)

The third annual Monolith Festival took over scenic Red Rocks in Colorado last weekend, with one of the most pleasantly-varied assortment of music yet, and I found much to entertain my ears. Perhaps I was more motivated this year than last, but despite the rain Saturday and drizzles on Sunday, I constantly found myself making tough choices between acts slotted simultaneously that I wanted to see. It’s good to have more than enough choices at a festival, running back and forth to catch the next buzzed-about act — and I certainly did at Monolith this year, along with lots of other folks.

Having just come from the massively spread-out Outside Lands Festival in San Francisco’s Golden Gate Park, I was struck by how small and intimate this festival still feels. Despite being packed in with several thousand of my closest concert-going friends of the Western States region, Monolith still felt like a boutique arrangement, with five stages squeezed into the rather compact natural park. I got to see some terrific folks.

Let’s start with a nice assortment of three videos I shot, showing why this is a marvelous festival:

Anni Rossi – “West Coast”

Rahzel – Beatboxing to “Seven Nation Army” and “Sexy Back”
(White Stripes and Justin Timberlake covers)

Monotonix, not yet showing his hairy buttcrack.

The diversity of artists this year was terrific. From discovering a new singer-songwriter with clever lyrics and gorgeous viola-playing skills (like Chicago’s Anni Rossi, who reminded me of Regina Spektor with strings), to clapping and hooting along while Rahzel (from The Roots) beatboxed his way through some wickedly enjoyable covers (that’s me laughing on the video when he announces “Remix!” and then does just that), to the roiling crowd response to Tel Aviv punk/rocker/remover-of-clothes Monotonix (who performed most of his set on the shoulders of the audience, and pulled his terrycloth shorts off in glee), Monolith kept me hopping (and climbing).

LISTEN to how I fell in love:
West Coast – Anni Rossi

Concert-companion Dainon and I are gonna tell you about a few other loves we each experienced during the weekend. One that we both agreed on is The Features from Tennessee, recently signed to Kings of Leon’s 429 Records, and one of the absolute best live shows I’ve seen in a long time: propulsive, melodic, catchy rock with a winning wail. I told the Facebook during the set that I thought I’d just bruised my thighs with the force of my leg-drumming. Their set meandered from awkward-punk-pop songs about falling in love on a Thursday to blistering rockers like this one:

Dainon says: True to the name they’ve attached to their music, The Features ought to really be featured on your radios, car stereos, and subconscious. Add one tiny, bearded man-wail to some of the loudest feeling music in all of Monolith (they filled up alla that wide open, Red-Rocked empty space) and you’re left with a band that demands you stay with them as they go about propelling themselves forward. Onward and up and through the hoops that should make ‘em famous. Prediction? They’ll be big. The band will overcome their height. The Features make you proud to be a lover of music. They’re a budding secret that needs passing on.

Thursday – The Features

Edward Sharpe and the Magnetic Zeroes were definitely the most visually and kinetically stimulating band I had the pleasure of getting up close and personal with all weekend. I’m not sure I’d listen often to their utopian fantasy music that belongs frolicking wildly in a peyote-induced dream somewhere, for sure, but this band (fronted by a man not named Edward Sharpe, like whoa) wowed me with their obvious joy.

Dainon says: Cotton Jones looks like a bunch of guys had just stumbled in from a sleepy, fishing town (after a long hard day of the deep-sea fishing even) and decided to try their hand at some sangin. This is the beautiful stuff, the kind that sounded best on that darkened stage with those red lights—ambiance was on their side. This is the performance that invited the festival audience to catch its breath before stumbling on to the next. It was as invited as it was needed. In this world, flannel was spoken and razors were ignored. In this place, love is whispered through sidelong glances, key tickling and warm-on-a-rainy-day songs.

I (Heather) love this song even more after seeing it shimmer and slowly coalesce live:

Blood Red Sentimental Blues – Cotton Jones

“I just thought I’d tell ya, all the demons have been slain / there’s no need for hesitation, honey I been re-arranged…”

Denver’s Natural Selection at the opening night party was more fun to dance to than Chromeo’s shiny DJ set, for sure. I love basslines that make my chest vibrate and my teeth rattle in my head while I shake my hips. That sounds like some sort of torture method as I read that sentence back but trust me, it is fun. This bi-city band (Denver + St Louis, somehow) is a “funk-disco attack” of the finest variety — and appears to have a required uniform of a) awesome denim mini-cutoffs b) gold pants and a vest, no shirt or c) neon. Totally works for me.

Dainon says: The Grates are a happier, skippier take on that early No Doubt action, whether you choose to squint your eyes and go about seeing Gwen in its lead singer or not. There’s a sailor suit here, lots and lots of skipping and a smile so bright, your heart has no choice but to go boom (read into that whatever you choose to). She even took time to tell us about her having farted about 100 times since she’d got there on account of that crazy CO altitude. What’s more? It was endearing. Then again, what isn’t in an Australian accent? All’s I know is I wanted a hug when it was all over, if just to transfer some of that pixie-tastic energy over my way. For a good time, pick up either of their two albums. For a better one, go to a show and give the singer a shoulder ride when she asks for one, because she will. She so will.

I mused out loud during M. Ward‘s dense and gorgeously-rocking set that I seem to forget how much I adore his music. This was the first time I had seen him live solo (once with She in SF), and I decided during his set that a) Post-War is probably on my list of top ten albums from this decade that I will continue to listen to for years and years to come and b) his catalog really expands and becomes much more raggedly rocking in concert, in a very very good way. I was also transfixed by his anachronistic peculiarness, which reminded me of a traveling salesman+blues musician from the 1930s or something, one that truly knows his way with a guitar. He’s so interesting to watch, and completely his own.

Dainon says: There’s a weird energy that accompanies Of Montreal and its stage show, though it never fails to puzzle me. I can’t make sense of what’s going on, though I try so earnestly to do so, every single damn time even. Still, if you can manage to get past the tiger-headed humans, the half-naked men, the munching on genitalia, the leotards, the sparkling blue eye makeup and the feather boas, well then, Of Montreal treats you right. They’ve a show to go with their story to go with their music. As in they’ve got groove in their respective hearts. Is it Prince light, as goes the rampant accusation? Maybe. One thing’s for certain … the band’s avid followers will make the floor shake every single time, even if it is made of heavy rock. Boogie yer two shoes, indeed.

All my pics –and more commentary– are over on Facebook, if you’d like to see the rest of what we did and how we barely survived (spoiler: Dainon had a run-in with a drag queen, I got my lip caught in a can while shotgunning a beer). It was a long, pretty rad weekend:

Opening Night & Saturday
Sunday

And here’s a few more, just because there was so much to see. Next year, you should come.

CHROMEO (video: “Tenderoni“)

DEER TICK

GIRL TALK

PHOENIX
(what album cover does that remind me of?!?)

YEAH YEAH YEAHS

M. Ward rocks the Music Box in L.A.

Wednesday night while I was being wowed by Murder By Death (more on that in a minute), I had two friends separately attending the very sold-out M. Ward show at the Henry Fonda Music Box in Los Angeles. In between enthusiastic texts telling me about how awesome the show was, these two friends who hadn’t yet met tried to find each other to say hello, with me as an intermediary. “tell her i have close-cropped hair, a goatee, and a black jacket,” he helpfully supplied. “that is EVERY GUY HERE,” she replied. I found this amusing. They never found each other.

But Zooey Deschanel came out to both introduce the night and sing four songs with Ward, Gillian Welch and David Rawlings played near the end of the set, and opening band Delta Spirit also shared the stage. Talk about star-studded — it was a hootenanny.

UPDATE: “M. Ward’s management does not allow unauthorized fan recordings of his shows.” Files removed by request. That’s unfortunate.

M. WARD
MARCH 4th, 2009
MUSIC BOX @ HENRY FONDA THEATER
Hold Time
One Hundred Million Years
Paul’s Song
Lullaby & Exile
Chinese Translation
Epistemology
Requiem
Fisher of Men
Post-War
Poison Cup
O, Lonesome Me
Rag Medley
Zooey’s intro / You Really Got a Hold on Me
Change Is Hard (with Zooey)
Rave On (with Zooey)
Never Had Nobody Like You (with Zooey)
Fahey
Vincent O’Brien
Roll Over Beethoven (cover)
Big Boat
Encore Break
Gillian Welch / David Rawlings Intro
To Save Me
Magic Trick

ZIP: M WARD AT THE MUSIC BOX

[thanks to Philip for emailing me his taping of the show (!!),
photo by Andrew Youssef for Stereogum]

Free M. Ward demos over at Merge Records

The good folks over at Merge are offering free downloads of three demos from M. Ward‘s third album Transfiguration of Vincent, to celebrate the re-release of the album on 180 gram translucent sky-blue vinyl through Jealous Butcher Records.

Undertaker (demo) – M. Ward
[get the other two here; registration required]

M. Ward is also playing a few solo tour dates later this summer, in addition to the She & Him tour. And speaking of She & Him, if you’re totally hanging out in your basement tonight to watch Pete Wentz on MTV, their video for “Why Do You Let Me Stay Here?” will premiere tonight at 8pm on FNMTV.

RELATED LISTENING: That M. Ward / Jim James / Conor Oberst show is still live, as is the M. Ward demo tape.

Got forty-fives to play at night :: M Ward / Jim James / Conor Oberst live in 2004

This earthy, warm, rich bootleg is from a shared evening of music that included sets from M. Ward, Jim James of My Morning Jacket, and Conor Oberst of Bright Eyes.

Billed as the “Monsters of Folk” tour, after individual sets it closes with a six-song jam session where they all play together and sometimes (like for the closing Dylan cover) take turns with the verses. The sound quality here is sparkling and pristine with some choice song selections in the mix. Any of their single sets would be a treat in its own right; together they blow my mind a little bit.

Notable track: that Willie Nelson cover! “Always on My Mind” is one of my favorite sad songs as is, but with Jim James taking the lead vocals it aches and ebbs in a new way. There are so many wonderfully melancholy songs in this bunch – in addition to the lonesome starter of “Fuel for Fire,” the way M. Ward’s voice cracks on Undertaker (“Ah, but if you’re gonna leeeeeeaaaaave, you better call the undertaker, take me under undertaker, take me home“) is practically the sound of a heart breaking.

MONSTERS OF FOLK TOUR:
M WARD, JIM JAMES, CONOR OBERST
Feb 20, 2004, Pantages Theatre in Minneapolis

M WARD
Fuel For Fire
Duet for Guitars #3
Let’s Dance (Bowie cover)
Undertaker
Helicopter
O’Brien/O’Brien’s Nocturne
Vincent O’Brien
Outta My Head

JIM JAMES
One In The Same
Like It Should (unreleased?)
I Can’t Wait (unreleased?)
Where To Begin (from the Elizabethtown sdtrk)
How Could I Know (b-side from Off The Record)
The Bear
Bermuda Highway
Golden

CONOR OBERST
Train Under Water
Going for the Gold (from the Oh Holy Fools comp)
Soon You Will Be Leaving Your Man
A Celebration Upon Completion
We Are Nowhere And It’s Now
Landlocked Blues (oh how I love this song)
Lua
Waste of Paint

ALL THREE (WARD/JAMES/OBERST)
Seashell Tale (M Ward song)
Always On My Mind (Willie Nelson cover)
Laura Laurent (Bright Eyes song)
At Dawn (MMJ song)
At The Bottom Of Everything (Bright Eyes song)
Girl Of The North Country (Bob Dylan cover)

ZIP UP THE NIGHT
(re-upped, the individual links are removed)

(Note: Mike Mogis and Nick White also performed at this show)

[thanks to the original taper]

Coachella Day 3: I just wanna burn up hard and bright

Vacate is the word. Arriving at Coachella Sunday, the traffic was light, the sun was shining but not too intensely . . . and the extra ticket my friend had was pretty much impossible to give away. There were tens of thousands there to see some very fine bands for Sunday, but it was not packed-crowded. While surely this was not nice for the organizers, it was good for the dusty masses who were wedged together a little less tightly for the third and final day of Coachella 2008.

Sunday was also basically just The Day I met The Hoff. All else (including shaking Sean Penn’s hand and chatting with M. Ward) pales in direct comparison. It’s like if you look right at the sun and then try to focus on anything else. The brilliance of his tanned Hoff-dom made me want to run down the beach slow-motion in a red tank swimsuit. Oh wait!! Not really.

After unfortunately missing Brett Dennen who I was looking forward to, Sunday actually began with Sean Penn urging us to get on his Dirty Hands Caravan to New Orleans (which would be a cool six days if I could afford just to just up and go). Penn is actually quite a compelling speaker and I admired what he was trying to do. I hope he had some success with the Coachellans. And contrary to advance rumors, Penn brought no special musical guest with him, just his direct earnest stare and his impassioned speech.

Next up was a few fun songs from Detroit/Chicago hybrid duo The Cool Kids on the main stage. They’ve got an old-school hip hop feel with buckets of confidence. I know Chris over at Gorilla vs Bear has been a big fan, saying way back when that they reminded him of “a late ’80s EPMD joint produced by a low-budget version of the Neptunes.” Agreed – not a bad start. Those guys would be amazingly fun to see in a small club – maybe kind of like the time I saw Sugarhill Gang in a tiny (literally) underground club in Italy.

Heading back to the tents, my mind was sent reeling by Holy F*ck, whose brand of lo-fi improvisational electronica is anything but sterile. Watching them pour their hearts into their music, doubled over their machines, radiating intensity — and then hearing the warmly soaring sounds that emerge made me reconsider what’s possible with that genre. They closed with my favorite song of theirs (you must watch them do it) and I know it sounds a bit hyperbolic, but for those final five minutes my soul levitated a little.

I’d been looking forward to the gorgeous vocal interplay, catchy melodies and varied instrumentation of Canadian lush-pop band Stars. I’d caught their live set before, so I knew how engaging Torquil Campbell and Amy Millan’s shared verses and crowd banter could be. Their Set Yourself On Fire album is a favorite of mine and I loved hearing those songs live, alongside the new stuff.

A wandering jaunt backstage revealed a busy crew inflating and painting the massive pig for the Roger Waters set later that night, and the aforementioned Hoff and Penn (sounds like a Vegas magic trick duo). I also tried and clearly failed to suppress my glee at meeting M. Ward, who was waiting to join his friends from My Morning Jacket on stage for their sunset performance.

My Morning Jacket more or less melted my face off. I’d never seen them play live before but from the opening notes of “One Big Holiday” I was pulled into their vortex and duly impressed with how hard they rocked. As a live band MMJ is relentless and fiery and impassioned.

They played through several songs from their new album, which ranged from the fairly-traditional big alt-countrified sounds of “I’m Amazed,” the straight up funky falsetto of “Highly Suspicious,” and a gorgeous rendition of the title track “Evil Urges.” They range so effortlessly from the thrashing rock to the perfect burnished timbre of sunset vocals fading out into the air.

Jim James played a scorching solo while surveying his fifedom from the speaker stacks in his Skeletor boot tops.

M. Ward indeed came out for the second song,”Off The Record,” with little fanfare. M didn’t sing at all to my disappointment, but they had some intense moments of rocking out and clearly enjoyed playing together.

Finally, a slightly blurred (call it artistic) shot of MMJ as the last vestiges of light from Sunday vanished below the horizon. I’m behind them, looking out at the crowd. They played for just a shade under an hour, abruptly leaving the stage at three minutes til 8.

Now, by the time Roger Waters took the stage, everyone in the crowd seemed to fall into two categories, both equally lethargic:

a) those who were doing some form of mood- or mind-altering drugs (not me Mom!) in what one of my friends commented was surely the densest concentration in the world at that moment in time of high people

-or-

b) those who were completely wiped out, who wanted nothing more than to lay on the grass somewhere and watch Roger Waters’ bi-plane drop confetti on us that turned out to be Obama fliers. We were glad it wasn’t biological warfare, which was honestly my first thought.

So while Waters took Coachella to the dark side of the moon, freaked with our minds with the surround sound effects, and released the giant pig that apparently got a bit out of control, I laid in the cooling grass that was just starting to be damp with dew and waited for the Tesla coils to go off, shooting blue-green lightning from coil to sky to earth. They never did for me, not that night.

So I guess that means I’ll be back.

And finally –randomly but perfectly– the song that was looping through my head all that last night:

“What a beautiful face I have found in this place
That is circling all around the sun
What a beautiful dream that could flash on the screen
In a blink of an eye and be gone from me
Soft and sweet
Let me hold it close and keep it here with me

What a curious life we have found here tonight
There is music that sounds from the street
There are lights in the clouds and there’s ghosts all around
Hear a voice as it’s rolling and ringing through me
Soft and sweet
How the notes all bend and reach above the trees. . .”

In An Aeroplane Over The Sea – Neutral Milk Hotel

ALL PICS: Friday / Saturday / Sunday
TUNES: Coachella music downloads aggregation on LargeHearted Boy

[Penn pic credit]

Before They Were Blogged: M. Ward demo tape

Before M. Ward embarked on his own glowing solo career making mind-bogglingly terrific albums, and before he met Zooey Deschanel and started recording some (She & Him) music and playing festivals with her, Matt was part of a band called Rodriguez in the mid ’90s with a strong college circuit following.

During one such university show around 1997, a kind future Fuel/Friends reader happened to pick up a modest cassette tape of solo material that Ward was experimenting with. Two years later, a similar (or maybe the same) collection of songs would end up in the hands of Howe Gelb (Giant Sand), who became fond of this Portland troubadour’s warm, stark folk sounds and released his first album Duet For Guitars #2 on his own Ow Om label.

Third in a mini-series of “Before They Were Blogged,” it has taken me over a year to realize exactly how buried and forgotten these tunes are. Since my reader actually converted them from that original cassette tape he still has, I’m fairly sure this is an unheard sonic collection — one that M. Ward’s fans will enjoy listening to as much as I have. Unfortunately I don’t have much more information to go on other than what my reader tells me, but all the things I love about M. Ward are certainly here in all their humble, honey-drenched, warm, raspy vibrancy.

M. WARD
SOLO CASSETTE/DEMO TAPE
If The Devil Came And Promised Me Joy
Don’t Crack
Made of Glass
Tom Violence (Sonic Youth cover)
Intermission
Must Be Waiting
No, You Can Never Make It New Again
Bye Bye Love (re-working of the Everly Brothers hit)
I’m Going Higher

M WARD CASSETTE/DEMO ZIP

She & Him are very . . . nice

One of my most anticipated shows at Noise Pop this weekend in San Francisco was the M. Ward collaboration with velvet-voiced actress Zooey Deschanel called She & Him. I could hardly overstate the level of love I have for M. Ward’s richly layered music, and Zooey has this fantastic retro-throwback vibe with a sweet coyness to her inflection. The samples I’ve heard from two of them have been promising.

And, let’s face it — much like the time I saw Russell Crowe’s band at the Fillmore (that’s Thirty Odd Foot of Grunts for those of you keeping track at home), everyone likes to go see a real live attractive movie star play with their band. It’s why folks spend $40 to see Dogstar.

After three opening acts at the Great American Music Hall Sunday night, Matt and Zooey took the stage for their hour-long set. I gotta hand it to Zooey, she is a charming and capable performer who reminded my friend of June Carter Cash a bit, I suppose in her vocal swing. I’d never seen M Ward before but he clearly enjoys those sounds he coaxes from his vintage guitars, and sings his vocal parts with the gusto and expressions of an 80-year-old bluesman. It’s fun to see them interact with each other, ending their main set on the piano bench playing the ivories side by side.

But somehow the visceral kick that I like to feel in a live show was missing last night. The overwhelming reaction I had when I walked out the doors was that it was nice, absolutely, and charming. It felt like a very engaging county fair act. They have a lot of potential as a duo, as their voices meld so well and offer each other a counterbalance. I’ve got the album at the very top of the stack of advances to take a listen to — I am anticipating that I’ll catch some layers of interest and depth in the studio album that I must have missed in the live setting.

The bloggers were out in force for this show, and as we all travel home, Aquarium Drunkard posted up a quick thought saying that the show was fantastico. The line around the block made this one of the hardest shows of the fest to get into, but I left feeling like I’d missed something in what was supposed to be the kind of glorious winner in the cool-kid olympics show of the year. It was fun. And nice.

Why Do You Let Me Stay Here – She & Him

Volume One is out on Merge Records March 18. Thanks to the dude with the iPhone in front of me who shared his clandestine pics.

M. Ward + Zooey Deschanel collaboration is near :: Four new songs from KCRW!

I’d heard last summer that my #1 artist from 2006 and the honey voiced starlet from Elf (among other projects) were collaborating on a full-length album, but it slipped from my radar for a bit there. Now look, we only have 2 more months to wait! M. Ward and Zooey Deschanel will be collaborating under the name She & Him with an album called Volume One (they are wildly creative in both namings) due out March 2008 on Merge Records.

Recently the duo stopped by the KCRW Open Road program to play several songs together. M. Ward has that humid, scratchy, atmospheric sound that balances out the velvety old-fashioned (sexy) croon of the delighful Ms. Deschanel. This is one highly anticipated album for me in 2008; I am hoping for a higher ratio of original compositions to covers, but I’ll take whatever they deal. Listen:

M. WARD AND ZOOEY DESCHANEL
KCRW OPEN ROAD, JAN 2008
Change Is Hard
You Really Got A Hold On Me
Magic Trick
Sentimental Heart


ZIP UP M AND ZOOEY

I’m heading out the door now to see this guy tonight. I am hoping there will be some digeridooing. I’ll keep you posted.

New contest: Win the Hottest State soundtrack, and read the book you lazy summer slacker

I am generally a really upbeat person but I can’t help myself — I truly despise heat coupled with humidity. This is why it is good that I don’t live in, say, Georgia or West Virginia because I would be the most grumpy person you know all through the month of August. Plus my hair would be very frizzy.

I am rambling about hot weather as a seamless tie-in to my newest contest: two lucky winners will win a soundtrack+book prize pack for the upcoming Ethan Hawke film The Hottest State. My first listens have been very enjoyable – it’s a fairly mellow and eclectic collection, and features the superb songwriting of new Fuel-favorite Jesse Harris. When forming the concept for the film adaptation, Hawke and Harris delved into the collection of 80+ songs that Harris had penned over the years, and then enlisted a dream team of folks like M. Ward, Feist, Bright Eyes, Cat Power, Black Keys, Willie Nelson, and Emmylou Harris to record them. You can stream the entire record here and then pop over to see the full tracklisting on their MySpace.

The movie is based on Hawke’s book (I didn’t know he wrote), so the two winners will each get a CD soundtrack plus the book for good end-of-summer reading as you lay by the pool and perfect that tan that will have to sustain you as the last vestiges of summer slip away.

So depressing, I know, stop it.

I’ll pick TWO random winners from all entrants by next Friday August 17th. If you’d like to win, please leave me a way to contact you (or promise to check here to see if you won, and then email me if you do) and answer this question:
What is one of your favorite hot weather/summertime memories? Random, funny, serious, whatever – it just has to effectively include that “hot” business. Godspeed.

From the soundtrack:
If You Ever Slip – The Black Keys
It Will Stay With Us – Jesse Harris

New duet from M. Ward and Zooey Deschanel

Actress Zooey Deschanel has a swanky cabaret-tinged lilt to her voice that’s resonated well with me ever since she cautiously sang along with Will Ferrell in the movie Elf, and you know how much I love the humid crackle of M. Ward.

Now they’ve joined forces to record a cover of the Richard and Linda Thompson duet “When I Get To The Border” for the new independent film The Go-Getter. The film is directed by Martin Hynes (Stealing Harvard) and stars Lou Taylor Pucci (Thumbsucker), Jena Malone (who sings now too) and Zooey Deschanel. It was debuted at Sundance this past February and is on the hunt for a distributor to bring the goodness to the masses, hopefully by the end of the year.

When I Get To The Border – M. Ward & Zooey Deschanel

M.’s been on a soundtrack kick lately (such expressive atmospheric tunes add richness to any film) — note his performance of the Jesse-Harris-penned tune “Crooked Lines” for the new Ethan Hawke film The Hottest State. That soundtrack is out next week, August 7th, on the newly-resurrected Hickory Records.