Another great Dylan cover, this time coming from Jamaica Plain big-band The Points North. (See previous post).
“Girl From the North Country” is one of my favorite Bob Dylan songs. Off The Freewheelin’ Bob Dylan, it’s just such a beautiful song filled with longing. With the addition of the constant and dedicated single chord strum, The Points North give the song a fervent feeling. I think there’s some accordian in there too.
“In the brightness of my night. In the darkness of my day.”
The Points North is a hell of a band. I can’t wait to see them live.
Tanlines played Brooklyn Bowl like it was a living room. Even though they were surrounded by too much stage, they somehow filled it. Maybe it was their liveliness, or just the infectiousness of their beats, either way, Tanlines looked and sounded great on Friday night.
Acrylics opened the show, which was part of the BAM Sounds Like Brooklyn fest. While Acrylics really bring the throwback way back, they could easily be a 70s band, they are also totally Brooklyn circa 2010. Their producer and record label owner, Chris Taylor (of Grizzly Bear) was in the audience, and everyone seemed to enjoy their laid back Tom Petty style pop. A few songs stick out, particularly “All of the Fire,” but the majority of Acrylics is a tad monotonous. With a little more experimentation, perhaps, they can jazz up their sound.
Check out the video of Tanlines. Long build ups do a world of good.
Singer Elizabeth Harper Ditches Folk for Synthpop As Class Actress
By David Chiu
Throughout the history of pop music, some famous artists began their careers in other musical genres before reinventing themselves. David Bowie was just another young singer in the late ‘60s before becoming glam rock hero Ziggy Stardust; Billy Joel used to be in a hard rock group called Attila before achieving fame as the Piano Man; and most recently Katy Perry transformed herself from Christian music singer to pop star.
Brooklyn’s own Elizabeth Harper is the latest musician doing a 180 with her sound as the focal point of electropop group Class Actress. At the beginning of her career, she started out performing acoustic folk music.But then, in an about face, she started working with synthesizers and collaborated with producers Scott Rosenthal and Mark Richardson.
The result is Class Actress’ debut EP, Journal of Ardency, a five-song collection of infectious synth-dominated music. With its catchy beats, melodies, and Harper’s singing, Journal of Ardency ranges from the exuberant feel of “Careful What You Say” to the gorgeous “Broken Adolescent Heart.” The EP is out on Terrible Records, which was founded by Grizzly Bear’s Chris Taylor.
Class Actress open for Yeasayer tomorrow at the Music Hall of Williamsburg. MME spoke with Harper about the shift in her musical direction, getting a haircut from Chris Taylor, and her thoughts on electropop.
I read in Pitchfork that you started out playing acoustic folk as Elizabeth Harper. And then you met up with Scott and Mark to form Class Actress and started this synth pop sound. What brought on this change in direction?
Actually the first guitar I bought was an ‘80s Japanese Telecaster from my cousin, along with some pedals, an analog delay, a flange, and a DOD distortion.
What brought on the change was I started playing a synth and fell in love with the sound of analog. It was like the waves started to work on my own brain waves and set me free. Like the way when I was younger and Nirvana felt like someone was using a leaf blower to clear out my head…or being on the back of a motorcycle. It was freeing…I just grew out of girl on guitar.
In crafting Class Actress’ sound, did you find yourself having to adjust or change anything in your songwriting and/or singing from what you did before to fit with this electronic music?
Not in ways I wasn’t already trying to.
What did Scott and Mark bring to the music that perhaps you weren’t able to do on your own?
Everything! They are incredibly talented producers and musicians.
Were you always into electronic pop music in the beginning?
Always. I used to go clubbing when I was younger to techno and house, and got turned on to electropop by my older sister.
I love the title of your EP, Journal of Ardency. Is there is a common thematic/lyrical thread that all the songs share?
The theme is all about the state of being ardent and writing about it in secret rather than expressing it to the person in real life, which I wish I could. But I’m shy [Ed: Note: and scared?] that it wouldn’t be reciprocated.
This is more of a comment than a question: When I heard the opening notes of “Careful What You Say”—it really sounded like old school British synth pop—perhaps a Yaz song?
Cool! What a huge compliment, I love Yaz.
I really dig “Broken Adolescent Heart”—it’s beautiful and sublime while it really evokes a familiar British ‘80s New Wave feel. What inspired you to write it?
Probably my own broken heart…trying to make sense of why I am such a fuck-up at love.
For those who might not know who you are , can you offer somewhat of a brief description about yourself?
I’m from LA and originally studied acting, and then got sick of waiting around to get cast in an interesting role so just channeled my own personal drama into songwriting.
How did you know Chris Taylor from Grizzly Bear? And are you already working on the full-length record. If so, will it be an extension of the EP?
Chris just cut my hair after the Grammy’s on Sunday and I have to say its one of the better haircuts I’ve gotten in a while…
Yes [the] LP will be like the EP but actually is more mainstream–more straight ahead pop–but still has some desperation in it.
What has been the most funny, interesting or memorable experience of being in Class Actress so far?
When fans Facebook chat me. I think its fun, because I never get to talk to them at shows because there’s so much going on… but I’ve had some very interesting chats on Facebook in the middle of the night that made us both feel better.
There was a period when synth pop was frowned upon and perhaps dismissed as not being rock and roll. Now it seems to be cool again. Is that something that you’ve noticed yourself? And if so, why do you think it resonates with people these days?
Electronic music was always cool in some way, but I think dance music went from Pet Shop Boys to techno and so there wasn’t any room for synth pop for a while.
What do you hope people take away from Class Actress’ music?
Just that they enjoy it and it makes them feel something and makes them happy. Music is something very personal to each person, every song has a place in time, a person, a moment… I just want the songs to weave into people’s lives and add comfort and/ or vivaciousness to this dizzying place. Life is so short. My goal is to make people feel more alive, as well as myself. Everyone feels deeply but people rarely express it in real life, so I am riding that line in hope that someone will find what I found in the music that helped me along the way… Just giving back what I love the most.
Matt Papich, 26, is an artist. But Papich’s tools are instruments, not oil paints or wood. He does use his hands, but he manipulates sound for your ears, not colors and shapes for your eyes. To a conceptual artist, perhaps there isn’t much of a difference.
Ecstatic Sunshine began in art school where, for a class project, Papich’s instructor paired him with Dustin Wong and told them to work together. The band was born within the walls of the Maryland Institute College of Art, or MICA, in Baltimore, MD.
Wong has since left, he’s a founding member of the band Ponytail, leaving Papich basically a one-man band. Through the years he’s collaborated with many musicians, most recently Joe (White) Williams, but ES is his project, his work, his life blood.
Recently over cured meats (including beef tongue), olives, cheese and beers at Spuyten Duyvil in Williamsburg, Papich explained how he composes/writes songs, the nature of sound and instrumentation and what it’s like to be in the thick of the Baltimore music scene.
Some art school kids are pretentious, some musicians are cool, some people are losers, but Papich is none of these things. He, like his music, defies convention and stereotypes.
Some may call the music of Ecstatic Sunshine noise; others may call it noise-pop and still more may say it’s experimental. To Papich, this isn’t really important. What’s important is what the music does for the audience—and the creator.
“I’m interested in sound’s ability to sculpt space, how it will affect the environment,” he said. “It’s a shifting of awareness.”
How one achieves a shifting of awareness is up to them, he said.
Papich’s live set-up includes a “chaos pad,” which “works with intuition,” Papich said. It’s understandable why he uses it.
When describing sound, Papich doesn’t only get technical—he gets philosophical.
“I think a lot of bands that use tapes use them as an effect to inspire nostalgia, I’m nervous about a nostalgic setting,” he said. “Walter Benjamin said ‘Nostalgia is an opiate of the masses.’”
Later that night Ecstatic Sunshine played a show at Death by Audio with three other experimental acts on the scene, one of which was Nonhorse, a one-man band (these were all one-man bands) who manipulates cassettes. After the set, Papich agreed it was not a nostalgic performance, bolstering his own theory that there is no set way to experience, or make, music.
Papich doesn’t have a formula for songwriting either, most musicians don’t. But asked if he hears melodies in his head and then plays them, Papich quickly answered, “no.”
“It’s not that clear,” he said. “When writing music, you’ll get to something that sounds right, and maybe it just happens.”
So by thinking through sound, by making music contextually, and also relying on the human attributes of a machine, Ecstatic Sunshine makes its case.
The Baltimore music scene has been compared to Brooklyn’s—it’s an arena of creativity, underground and underage shows and collaboration. But Baltimore is much smaller than Brooklyn, reminded Papich, who lived in Williamsburg for about eight months last year while working with Williams.
And that smallness is what makes Baltimore more of an incubator, and less of a scene.
Dan Deacon, perhaps the biggest act to break out of Baltimore, exemplifies the city’s good vibes. He still comes out to see shows all the time, said Papich.
“After Deacon and Ponytail got big, a lot of new bands that were influenced by them popped up, and people were worried about this empty party music,” said Papich. “But no one supported those bands…We have high standards.”
Another big distance: in Baltimore, all the venues and spaces to hear music are basically within walking distance.
Papich is from Allentown, PA. Growing up he listened to Guns N Roses, thought Cat Stevens was “god” and loved “Kokomo” by the Beach Boys. He “played music seriously” in high school, in hard-core and punk bands.
He plays music seriously now, too. The most recent Ecstatic Sunshine record, Yesterday’s Work, is out now on Hoss Records. Get it here. Check out the track below, “Conch.”
Ed. Note: Usually I like to listen to the music of the band i’m writing about. With Ecstatic Sunshine this is close to impossible because the sound is so challenging. You have to pay attention. Yes, you can get lost in it, but really, you should follow the music. It’s on a path, to somewhere.
Can I see all the bands I want at SXSW without a badge and without spending money on tickets? I think so, and that’s the challenge that Microphone Memory Emotion is taking on. Will you support me??
In addition to unofficial shows, I hope to get on the list for official shows that are being sponsored by people/bloggers/writers that I know.
I am going to prove that you don’t need a $500 badge to hear five days of great music.
Of course, something to point out here is that most of the bands i’m interested in are way under the radar and won’t be playing the big fancy shows anyway. There are exceptions, but i’ve seen Dinosaur Jr. many times.
This brings me to an important question though- who is SXSW for? Historically it was intended to be for industry types, record labels and writers, right? But today, in this day and age when the two industries struggling the MOST are music and publishing, what is the point? Dinosaur Jr. hardly needs discovering. So who are they playing for?
Maybe it’s just an excuse for a big party. If that’s the truth, I support that. I’m going for the party, for sure.
But i’m also going because it is my duty as a blogger to write about new bands (and some old for nostalgia’s sake and for context). But if I can do this without doing anything official at SXSW, then what is the purpose of SXSW? Perhaps the big, corporate festival attracts the bands, who can then play on smaller unofficial stages too, and that’s a good thing. Without a centralized place, and the small glimmer of hope that playing for so many affords, all these bands couldn’t play together, and I wouldn’t be doing anything. Hmmmm.
Then again, Todd P is throwing his own festival, in Mexico no less, and there are going to be tons of bands there. And i’m pretty sure those shows are for the fans.
Thoughts and comments are welcomed. Please chime in.
Like I said, this is a folksy day. It almost feels like Spring could be coming, what with these Sun Hotel tracks played loud. Not like we get to enjoy this in the city, but imagine a blanket on a grassy patch by a forest. A picnic made from scratch. Sun so warm it makes the bugs buzz and butterflies flutter. Wildflowers that smell like heaven. “ALLWAYS” makes me think of that and yearn.
The band says these songs are about love, loss, breaking up, marriage, getting divorced. The best sad songs don’t feel sad.
Sun Hotel is giving away their entire EP, Team Spirit, as a free download. Go get it. Listen to “Allways” below in preparation for the full onslaught.
These songs are a bit indie-folk, and a bit Modest Mouse if you can believe it. I don’t think bands strive to sound like this anymore. Do they?
Hailing from Jamaica Plain (again!), The Points North make today feel like the first day of the rest of my life. I’m not confused, everything is really clear. These songs make me want to look for beauty, not just what’s cool. Big, bright eyes opening…
“Cape Tryon” is a earthy dream of a song. Featuring three-part harmonies dug up from the ground that likely surrounds a beautiful lake, or a nutrient rich garden, The Points North direct their energy up up up. The voices soar and the flute, yes the flute, make me feel like i could live among the hobbits one day. If I could just get there I could be barefoot forever, making merry, and living with my neighbors peacefully.
“Oh how I love to see cliffs crumbling, and throwing just themselves into the sea.”
The Points North are stationed in Australia this month, touring and getting ready for SXSW, where they will appear at the Psyche/Wave Showcase with Truman Peyote/Many Mansions and others. Their debut 12″, I Saw Across the Sound, is out now on The Grinding Tapes.
Chris Alspach, Regina Peterson and Dylan Clark played 70 shows last year– they are clearly gonna be tight!
I can’t believe I only just heard Phoenix do “Sad-Eyed Lady of the Lowlands” today. This is a perfect cover. Thomas Mars makes his voice just like Bob’s– and he basically delivers the song with the same cadence as the genius songwriter himself. The difference lies only in the fact that Mars’ actual voice is prettier in tone, which for some people will make this song 100 times better. For me, it doesn’t make the song better, but it does give me a new perspective and way to enjoy a song i’ve heard countless times.
Especially great is when Mars sings the chorus…he slows it down so he can rest his pretty tenor on the words, “Saaaad Eyeed Laaaady of the Looooowlaaaands.” Fucking magical, Frenchies.
Truman Peyote and Many Mansions both hail from Jamaica Plain, that row house with porch and distant yet close Boston neighborhood that’s home to a disco/bowling alley/bar/venue (The Milky Way) and many young and cool psychedelic bands it seems. I always loved the Boston music scene of the 80s and 90s (who didn’t?) and something tells me there’s a lot of cool shit there brewing under the surface. I gots to visit come Spring.
“Mind Island” is one track by Many Mansions off the 12″ split with TP, “Peaced Together.” It’s kind of tribal in the liberal use of hollow drum beats and chanting. But then there are the drones that make the sonic landscape modern. A simple guitar line brings the song out of haze and muck, directing the action and moving your mind along. Pretty great stuff for the time when you want to think on a linear line. Chase your thoughts. Straight into Malkovich.
