Donewating 6-yr anniversary show: Envelope, Two Cow Garage, Moon High, Adulture

(Late post of last week's show...)

I don’t pretend to be a connoisseur of the Columbus hip-hop scene. In fact, my knowledge pretty much ends with a passing familiarity of the Weightless Recordings roster and Wes Flexner’s entertaining ramblings on local music blog Donewaiting.com. So I can’t really compare Envelope’s performance for Donewaiting’s six-year anniversary show at Skully’s last weekend with other hometown rappers’ performances. But man does this guy put on a great show.

First off, it’s refreshing to see someone put so much time and energy into an actual stage show, as opposed to just getting up there, staring at the ground and going through the motions. Envelope (aka Tony Collinger) billed the night as “Envelope presents The Corner Store,” and he meant that quite literally. The guy constructed a huge set (mostly out of cardboard, I think) for the stage--what looked like a corner store stocked with cereal, ranch dressing, Magnum condoms, chips, etc. It made for a long set changeover, but worth the wait.

Collinger comes off like a lovable goofball bounding around the stage--a far cry from ultra-macho, egomaniacal emcees obsessed with proclaiming their lyrical superiority and sexual prowess. He’s humble, yet highly entertaining, with a self-deprecating sense of humor. (On one track from 2008’s Blueprint-produced Shark Bolt, he says, “I’ll even admit that I’m annoyed when I hear too much of my own voice.”)

It was definitely a sloppy show. Collinger has a great flow but can’t sing for his life; luckily he usually asked the crowd to help out with the sing-along refrains (e.g. “I’m not poor, I’m just broke, broke as hell”). He also screwed up one of my favorite lines from “Oh My My My...,” a complaint about the letdowns of science: “They got wisdom like the Masons lack secrets.” But he made up for it with some other choice nuggets: “American Apparel’s owned by a sexual predator”; “Lost my swagger so I started jogging/ Beer gut, not so awesome”; “If we’re so smart, and nothing is left unexplored/ Then why’s it 2009 and I don’t have my hoverboard?”

He’s also more acutely perceptive than he gives himself credit for. “Day Dream Nation” does a pretty good job of diagnosing society’s ills and skewering the culprits--a group from which he doesn’t exclude himself.

And while an Envelope album is all about the smirky, everyman lyrics, an Envelope show is more about the experience. Just a playful, talented dude dropping rhymes, shouting out to his friends (like onstage deejay Detox) and acting out tongue-in-cheek skits with other friends (like The Catalyst). A fellow TOP critic described Envelope’s last album as quintessentially “Columbus,” and that goes for the Whetstone grad himself, too. Collinger unapologetically embraces this city, and we’d be right to return the favor.

Two Cow Garage gave one of its typical gerbil-on-a-speedball performances, with all the gusto and grit we’ve come to expect from the band, along with a near-overdose of catchy choruses. I’ve been doling out ego boosters to these guys a lot recently, so I won’t go on and on, but I have no qualms calling Two Cow the best live rock band in Columbus. Oh, and the drummer smashed half of his drum set on the last song.

I didn’t stay for laptop duo Adulture’s closing set, but the young’uns played some cool stuff in between acts, doing impressive live edits of Portishead and more. Moon High, a newish folk-inspired act I’ve been enjoying, opened the show with one of the most upbeat songs I’ve heard from the usually super-placid band. I’m excited to hear more of that. Musically, the rest of the set was pretty solid, too, but I tend to think atmosphere is more crucial than usual when watching Moon High perform, and Skully’s garish surroundings seemed to clash with the band’s aesthetic (foot-switchable globe lights, banjo plucking, tranquil songwriting). I’d rather experience the songs at a place like the Treehouse (where the band performed this past Friday with the Couch Forts) than at what someone recently described to me as “Columbus’s version of L.A.”

(Also at The Other Paper)

Best Columbus albums 2008

Since I already gave away that Miranda Sound's self-titled record is my favorite of Columbus album of 2008, I figured I should post all top ten. So here they are, though after the top three the order itself doesn't mean a whole lot--some of these will switch spots with others, depending on the week, day or whatever mood I'm in. The point is, these are all great records. 2008 was a good year for Columbus music. (Links go to previous reviews.)

1. Miranda Sound - Miranda Sound
2. Times New Viking - Rip It Off, Stay Awake E.P.
3. Melty Melty - Rise of the Birdmen
4. Two Cow Garage - Speaking in Cursive
5. Envelope - Shark Bolt!
6. The Lost Revival - Homemade Confetti
7. Moon High - Moon High
8. Our Cat Philip - Apart of Someone
9. Sinkane - Color Voice
10. Brainbow - Brainbow

Chairlift w/ Moon High - Wexner Center, 11-3

You gotta hand it to the folks at Apple. They’re pretty good at finding just the right songs to soundtrack all those boldly colored iPod TV ads. The most recent commercial for the Nano is no exception. While watching those new gadgets bleed their vivacious colors, you’ll hear Caroline Polachek of the band Chairlift singing about handstand attempts over the bounciest bass line allowed by law. The song is called “Bruises,“ and it’s playful, catchy, hummable, vaguely familiar--all the things Apple is going for in hopes that those Nanos will fly off the shelves, economic crisis be damned.

But Feist has no need to worry. She won’t be relinquishing the iPod-commercial crown to Chairlift anytime soon. For many, “1234” served as a jumping-off point for discovering other gems in the Feist catalog, but judging from Chairlift’s sparsely attended show at the Wexner Center’s Black Box on the Mershon stage, an exploration instigated by “Bruises” turns up a lot of filler from a band still searching for an identity.

That’s not to say that this Brooklyn three-piece doesn’t have some stuff worth hearing, namely the songs where Polachek showcases her tremendous pipes. “Make Your Mind Up” was the most impressive of Monday night’s very brief set, as Polachek’s soulfulness spilled over the levee, revealing a beautiful vocal tone and an uncommonly high range. The song made her slightly bothersome theatrical gestures (draping herself over the keyboard, etc.) seem more justified.

“Bruises” came off just as it should have, and the short-and-sweet “Evident Utensil” was nice and danceable, despite some rhymes that felt a little forced. But the rest of the set was spotty as Chairlift attempted U2 (“Deer Hunt”), French pop and some industrial-inspired stuff.

“Planet Health,” the closer, mentioned something about a food pyramid, puberty and saying no to drugs, with a chorus of, “I’m feeling great tonight.” It’s a snoozer till the the song’s resilient outro (“Stop, drop and roll”), but by that time it was a little late, and I was still befuddled about this planet Polachek was attempting to describe.

Until Chairlift learns to consistently harness Polachek’s voice, sharpen its focus stylistically and mature a bit lyrically, it’s probably not worth filling up that Nano with more than a couple Chairlift tracks.

Moon High, on the other hand, has created and fully embraced a unique identity. The local band’s ultra-mellow, organic folk--an odd contrast with Chairlift’s synth-heavy sounds--is unlike any other band in Columbus, and you’d have trouble finding an equivalent outside of Ohio, too. People like to lump Moon High in with freak-folk bands, and David Fowler and Ryan Wells may take some inspiration from that scene, but reducing the band to that label does it a disservice.

Fowler and Wells shared lead vocal duties and switched between various acoustic guitars, banjo and cello throughout the set, accompanied by flute and violin at times from the two female background singers. Moon High completes its aesthetic visually with a couple of large, foot-switchable, white globe lights that I find more warm and peaceful than gimmicky.

Just about all of the band’s songs have a mournful vibe, and that consistency does come with a small price. If you head to a Moon High show with some sleep debt, the tranquility of “Lying Here, Dying Here,” “Where You Go” and other songs can become a bit drowsy. But these guys aren’t trying to shake the rafters, so I have a feeling that if you kicked back and closed your eyes at a show, they might take it more as a compliment than an insult.

Our Cat Philip, The Damn Yous, Moon High

We're going to start doing more local album/single reviews in The Other Paper. They'll usually be shorter than the regular 400-wordish reviews, but it should still give a good overview. You can find this week's full installment here, and here's just my two below, plus a short show preview I wrote for the Moon High show at Carabar on Saturday. I'll unfortunately be out of town for it, but you should go.

Our Cat Philip - Apart of Someone
I didn’t know much about Our Cat Philip until I saw the youngsters open up for Ha Ha Tonka and Someone Still Loves You Boris Yeltsin a couple of weeks ago, but the performance put the band atop my local-bands-to-pursue-further list. After listening to the group’s debut full-length, Apart of Someone, I’m officially down with OCP. And if you’re able to embrace your inner twee, you’ll be down, too.

Singer Max Sollisch’s quivering tenor (see: John Darnielle) is a quirky counterpoint to the folky melodies created by banjo, pianos (both the plinking toy variety and a grown-up version) and graceful string arrangements. The album, which sounds distinctly different from typically scuzzy Columbus offerings, isn’t quite as zippy as the band’s live show, and the record could stand a few more injections of that twee playfulness the group does so well; Our Cat Philip is at its best when embracing its inner oddities.

But the heart-on-sleeve mellow numbers are nice in small doses—“Like Movies” and “Dana” are particularly fetching ballads. No doubt other fledgling locals will be jealous of a debut like Apart of Someone.

mp3: Our Cat Philip - Like Movies (more freebies available on the band's myspace page)

The Damn Yous
The Damn Yous’ self-titled 7-inch is out on Burnt Sienna Records, which released stuff by Pretty Mighty Mighty back in the day. The accompanying press release describes the band as “fast columbus, oh punk raunch and roll,” and that’s a pretty fitting description. The trio takes the punk fury of Columbus’s New Bomb Turks and adds a hefty dose of Motorhead metal.

Here’s what the Damn Yous do well: raw power, especially on B-side “Suicide Squeeze,” a lo-fi beast that finds the drummer pounding furiously to keep up with the guitar, like a foaming pit bull fighting one of its own, Michael Vick-style.

Here’s what they don’t do well: songwriting and titling. Side A is “Anal Pledge” and “Cock Fight,” neither of which would be out of place on a Spinal Tap track list, but I doubt this is similarly tongue-in-cheek. Either way, these blink-and-they’re-gone songs probably work better in a dingy rock club than on vinyl.

Moon High
Saturday, Aug. 29, Carabar
Like Our Cat Philip, Moon High is a Columbus band playing music utterly different from most Columbus bands. I’ve really been digging the band’s self-titled debut—a moody, folk pastiche full of mournful, pretty songs that bring to mind a less flamboyant Sufjan Stevens. There’s enough going on to appeal to the freak-folk crowd, but it’s restrained enough to appease those who don’t like their folk too freaky. The band also sets the mood nicely at live shows, with big, glowing globes. Rounding out the bill are some other great bands that would make the show worth an outing on their own: Church of the Red Museum, Rosehips and Deerhead.

mp3: Moon High - Lying Here, Dying Here (stream the full album at the Moon High website)