Vampire Weekend

At this point in Vampire Weekend’s early career, the four boys from Columbia University are known for a few things. One, the sweater-clad, Ivy League crew looks the part. Two, the band injects Afropop influences into its indie pop tunes, garnering multiple comparisons to Paul Simon’s Graceland before VW’s eponymous full-length has even debuted. And three, in the era of here-today-hated-tomorrow buzz bands, the fledgling foursome is known just for being known.

To be sure, Vampire Weekend’s world music influences shouldn’t be overlooked. The band’s signature song, “Cape Cod Kwassa Kwassa,” which refers to Congolese soukous music, could also double as a style the band has created--though the band prefers “Upper West Side Soweto.” In the tune, singer/guitarist Ezra Koenig’s playfully heady lyrics rhyme “Louis Vitton” with “reggaeton” and “Colors of Bennetton.” The song isn’t technically kwassa kwassa, but it and other tracks do elicit plenty of comparisons to Afrobeat and even calypso, especially rhythmically.

While the intentional multicultural touchstones are impressive, the band’s real talent lies in how seamlessly the foursome integrates these globe-trotting styles into what is essentially indie rock and New Wave pop. “A-Punk” uses a guitar lick similar to the intro of Bloc Party’s “Helicopter,” but Koenig has taken the angular guitar and tediously smoothed it out with a padded mallet. It’s as if each short and snappy track on the album has been dipped in paraffin to soften any sharp edges. The bass lines bubble underneath bouncy drumbeats, and keys, organ, harpsichord, strings and flute add some more cushion. Koenig usually employs a collegiate croon, but he bleats about on “One (Blake’s Got a New Face)” and apes Sting, complete with faux-British overtones, on “The Kids Don’t Stand a Chance.” Where Yeasayer’s ’07 album, All Hour Cymbals, used world music to create trippy concoctions, Vampire Weekend takes similar influences to produce expertly crafted pop songs with stamina.

I’ve yet to see Vampire Weekend live--though the Wexner Center is bringing the boys to town Feb. 14--but I imagine Koenig singing with a smirk on his face. “Oxford Comma” references the debate over whether to include that last comma in a list of three items: “Who gives a fuck about an Oxford comma? I've seen those English dramas, too. They're cruel.” (The fact that keyboardist Rostam Batmanglij interned at the Oxford English Dictionary one summer adds another layer of meaning.) Then later, in the same song, Koenig name-drops the king of crunk: “Why would you lie about anything at all? First the window, then it's to the wall. Lil' Jon, he always tells the truth.” The band also reveals its inner prepster love of patterned fabric on “M79”: “No excuse to be so callous. Dress yourself in bleeding madras. Charm your way across the Khyber Pass.”

It’s probably no coincidence that “The Kids Don’t Stand a Chance” is the album’s last song--a clever inward jab at the ephemeral quality of bands-of-the-moment like Vampire Weekend. But with tunes catchy enough to snag the sweater these Cape Cod vacationers inspired you to drag out of the closet, the band just may stick around.

mp3: Vampire Weekend - Cape Cod Kwassa Kwassa
mp3: Download the Daytrotter session here

David Bazan

When clicking through my iPod, I routinely scroll right past artists that I genuinely enjoy, but for some reason the name just doesn't stick out anymore. I don't know if this is just the nature of having a chock-full iPod, because I probably used to do the same thing when scanning through stacks of CDs, but every so often I'm reminded of a band that I stopped listening to for no good reason. (Well, other than constantly having to listen to and review other albums and shows.)

I've been reading Body Piercing Saved My Life by Andrew Beaujon, a longtime Spin contributor, and it's a fascinating look at Christian rock and bands who play rock music and also happen to be Christians. Beaujon makes it clear he's not a Bible believer himself, which makes the book more intriguing to me. Anyhow, one of the best chapters so far is Beaujon's interview with David Bazan, formerly of Pedro the Lion (and electronic side project, Headphones).

Bazan's an opinionated, conflicted and endlessly interesting artist to me. He allows a time for questions at each of his shows, and someone inevitably asks him if he's a Christian, which he always responds to in the negative. Why? Beaujon quotes Bazan as saying, "I'm not equating myself with Martin Luther by any stretch--but him and people that were part of his movements just stopped calling themselves 'Catholics.' I'd rather there just be a misunderstanding--'The guy's flipped out and totally abandoned his faith'--because it's not necessary for strangers to know exactly how I feel."

Fortunately for us, that inner struggle makes for great songs. For a sampling, head here to download a solo set Bazan played back in November. I'll be listening to it, as well as rediscovering the tunes my iPod has been hiding from me right in front of my eyes.

And for some lyrics to squirm by, here's "Discretion" from Achilles Heel (whenever I hear this song now, I picture Chigurh, the killer from No Country For Old Men):

Having no idea that his youngest son was dead,
The farmer and his sweet young wife slept soundly in his bed.
In the shadow of the mountain, as the cattle hung their heads.

Grazing only feet from where the broken body lay.
It would lay undiscovered for another several days,
When the farmer would find vultures at their banquet in the hay.

The killer traveled eastbound in a golden brown sedan,
Weighing his most recent deviation from the plan.
Counting down the hours till the sun came up again.

Hired to hit the farmer, but the farmer's asshole son
Had not yet decided between poison or a gun.
Suddenly he realized he would not use either one.

Watershed w/ The Receiver, LC Pavilion, 1-11-08

Before Friday, it had been quiet on the Watershed front for quite a while. Even though the band released the live album Three Chords and a Cloud of Dust II in September, the last time the much-loved local rockers played their hometown was in August 2007, and that was the only show of the year. The two principal songwriters have been conspicuously absent: Singer/guitarist Colin Gawel has been managing Colin’s Coffee in Upper Arlington (though he occasionally can be found playing with his side project, the League Bowlers), and singer/bassist Joe Oestreich has been teaching at a college in Washington while doing some writing for literary journals and Esquire.

For a band that majors in loud, messy, catchy rock-and-roll and has been known to hit the road for long stretches, one show in 365 days is a distinct change of pace. So Friday night at the LC was a comeback of sorts, a chance for the band to reacquaint itself with hometown fans who have been (im)patiently waiting for a triumphant return. But the question that seemed to be on everyone’s minds, the elephant in the room, so to speak, was: After almost 20 years, does Watershed still have it, or is the band finally past its prime?

Fortunately, the time off has only reinvigorated the band, because the seasoned professionals sound as good as ever. It certainly wasn’t perfect, but Watershed doesn’t really aim for perfection. The band thrives on spontaneity, and there’s a certain amount of sloppiness that comes along with that. There were some flubbed chords and missed notes--Gawel’s voice in particular seemed to be going towards the end of the night--but Watershed’s contagious energy and onstage charisma made the dents and scratches all seem like part of the show. I’ll take some minor infractions in exchange for an invigorated performance.

There’s nothing sloppy about Watershed’s songwriting, though. Taking lessons from Cheap Trick, the Kinks and the Replacements, the band doesn’t write a song that you can’t sing along to by the second chorus. But what separates Watershed from the power-pop herd is that Gawel and Oestreich actually write good lyrics to go along with those choruses. Neither are afraid to write with sincerity but perform with playfulness.

The two singers use the dual vocal attack successfully and sound their best when both are contributing. Oestreich showed his impressive range and clarity on “5th of July” and “Anniversary,” especially during the latter’s refrain: “She's telling me now/This thing has run its course/Eight years for what/A shotgun divorce.” “Suckerpunch” and “Mercurochrome,” both fist-pumping rock songs, sounded particularly fresh and vital.

Watershed drew a respectable crowd, especially for a Columbus band, but at a venue like the LC, it still felt sparse. A smaller venue might have suited the band’s return better.

Opener The Receiver was at the complete opposite end of the spectrum from Watershed, sonically and in its performance philosophy, which made for a bizarre pairing. While Watershed’s specialty is off-the-cuff rock, the Receiver’s show was entirely programmed, utilizing computers playing looped instrumentation. Singer/multi-instrumentalist Casey Cooper stayed on bass most of the night while his brother, Jesse Cooper, manned the drum kit, so the rhythm section ruled the night. The band played droney, Radiohead-inspired tunes with a thick, liquid sound. I liked it.

The Cooper brothers aren’t ones to rush into a song. Most of the tunes had some sort of instrumental prologue to introduce the song’s personality and set the tone. Every song in the set had a distinct ebb and flow to it, with minor tones throughout; even the cathartic sections had somber overtones as Casey slid around them in a delicate timbre.

The band had its set videotaped, and the cameras were inordinately intrusive on multiple occasions, which will probably make for a good video but was really annoying live. I also prefer my rock a little more free-form, not so precisely orchestrated, but the brothers Cooper impressed nonetheless. I’ll be looking to hear more from the pair.

Missed in 2007

It's impossible to listen to everything. Here's a few albums that I didn't get around to in 2007 (or at least not until the waning days) but am now heartily enjoying.

I'm Not There Soundtrack
There are 33 Bob Dylan covers in the soundtrack to the Todd Haynes film, and a lot of them are pretty great. The standout track for me is "Goin' to Acapulco" by Jim James (My Morning Jacket) and Calexico, with its laid-back, island vibe some good ol' Calexico horns. You can't go wrong with any of the three Stephen Malkmus tracks, either.
Stream

The Avett Brothers - Emotionalism
I guess you'd call this rock with folk and bluegrass influences, but if that's not your thing, don't let those labels stop you. Seth and Scott Avett have a rock-and-roll swagger that's as irresistible as the songs' hooks, and the writing is superb. If I could hop in a DeLorean and redo my Best of 2007, this would be up high.
mp3: The Avett Brothers - Die Die Die

The Black Swans - Change!
See previous post. I like.

A.A. Bondy - American Hearts
I knew nothing of this album by the former Verbena frontman until a Donewaiting.com Best of 2007 list. Fans of Rocky Votolato or early Josh Ritter will love this album. It's nothing fancy, just good, pared-down, somewhat dark songwriting that avoids some of the cliches common in Americana.
mp3: A.A. Bondy - There's a Reason

Glen Hansard & Marketa Irglova - Once Soundtrack
I'd heard a few songs from this soundtrack before seeing the film, but now that I've watched it, the emotions come through in a whole new way. Hansard, Irish singer/guitarist of The Frames, will give you goose bumps when he lets loose on "Say It to Me Now," and "Falling Slowly" is a perfect pop song. (The compatible pair also covers Dylan's "You Ain't Goin' Nowhere" on the I'm Not There soundtrack.)
mp3: Glen Hansard & Marketa Irglova - Falling Slowly

A couple that I probably didn't need to get around to:

Rivers Cuomo - Alone: The Home Recordings
A couple of these tunes, such as "I Was Made for You," sound like they could be Weezer classics, but most probably should have stayed in Cuomo's stash of home demos. "Ooh" is just 47 seconds of Rivers layering his voice, and I honestly get a little embarrassed for him during his attempts at Rage-style metal-rap ("The Bomb") and R&B ("This is the Way").

Times New Viking - Paisley Reich
OK, so maybe it'll grow on me, but I don't see what all the fuss is about. I love to see Columbus bands succeed, so I'm happy TNV is releasing its new album on Matador (Rip It Off, 1/22) and has a good amount of buzz going, but I can't say I've truly enjoyed listening to this album all the way through yet. The ultra lo-fi quality does get a bit much, but it's the songs themselves that don't do much for me.
mp3: Times New Viking - (My Head)/R.I.P. Allegory (from Rip It Off)

The Black Swans, Megan Palmer - Andyman's Treehouse, 1/4/08

In the first few weeks of the new year, I get a year-end-list hangover in which, after reading countless “Best of” lists, I realize how many great releases and live shows I missed in the previous year. The Black Swans fall into the category of a live act I somehow never saw, but thankfully I remedied the situation Friday night at Andyman’s Treehouse. I then kicked myself repeatedly for missing all those shows.

On the Black Swans latest release, Change!, the atmosphere this trio creates is other-worldly, and that same vibe was present at such an intimate venue in front of a hushed crowd (aside from the spill-over from the pool room). There’s an eerie coolness to the Black Swans’ songs, like being alone in a desert at night. The band takes cues from folk, country and blues to create a pastiche that is gorgeous, spooky, depressing and bare.

The most surprising part of the band’s sound is singer/guitarist Jerry DeCicca’s voice, which rarely rose above a thick-throated whisper. There’s beauty in his unusual, understated delivery. Adding to the eerie feel was Noel Sayre’s moaning Appalachian fiddle, which was as integral to the songs as the vocals. On the last tune, “3 Chord Song,” Sayre showed his mastery of the instrument. Throughout the set, Canaan Faulkner’s unpretentious bass lines and DeCicca’s simple acoustic guitar lines let the mood and words develop naturally.

It’s a rare thing when a songwriter’s lyrics can stand alone as poetry (see collections by Jim Morrison and Jewel), but most of DeCicca’s lyrics can do just that. (Pick up a copy of Change! and listen to “3 Broken Words” and “New Face” for some good examples.) At one point, though, DeCicca stopped a song after realizing he couldn’t remember the words. But, he said, it didn’t matter because “they all sound the same anyway.” There’s some truth to that. The Black Swans don’t exactly mix things up stylistically. But if you can do one thing that well, why veer?

With national press taking notice, it might not be long before we’re pining for the days when we could see the Black Swans at a place like Andyman’s, and the same could be said for Megan Palmer, who preceded the band. In her last Columbus show before a stint in New York, Palmer was accompanied by two fiddlers and an occasional backing vocalist. Like the Black Swans, Palmer’s songs were perfect for the intimacy of this room. The local favorite gave a passionate, inspired performance.

The delivery that sometimes comes across as dull on her most recent record, Take You Away, transformed into something pensive and intriguing live. It’s apparent Palmer’s becoming a seasoned performer, looking right at home on stage (or in the case of Andyman’s, on the ground in front of some Christmas lights). “Matador” showcased her knack for a clever turn of phrase (“I go so quickly from love to liability”) and the dead-on harmonies allowed the emotionality of the song to erupt. She had more jazziness to her voice, as well, especially on “Hair of the Dog.”

I found myself grinning during the set’s closer, “Desperate Housewives,” as Palmer sang, “Desperate housewives make honky-tonk angels when they finally get away,” and as I looked around the room, I noticed I wasn’t the only one.

More pics from the show here.

mp3: The Black Swans - Change
mp3: Megan Palmer downloads at Sunken Treasure

Watershed

The January issue of Columbus Monthly is on newsstands now. Mayor Mike Coleman, whom the magazine dubbed "Person of the Year," graces the cover, but I humbly implore you to flip through the pages till you find a profile of the band Watershed by yours truly. (Unfortunately, like its sister publication The Other Paper, Columbus Monthly is in the stone age and does not have much of its content online. I hear that's supposed to change, though.)

Watershed is a Columbus institution and a great rock-and-roll band in the vein of Cheap Trick, and to top it off, they're great guys. Hopefully the story captures some of that.

*Update: Watershed will be at the LC with The Receiver Jan. 11, and the band is also confirmed to play SXSW.

More proof Columbus is cooler than you think

The New York Post recently listed Columbus as one of its top five destinations, alongside spots like Budapest and Venice. From the article:

"There's a reason why travel is so great. Never was that so clear as the steamy mid-summer evening spent wandering in Columbus' German Village.

The name warns of kitsch around the corner, but this actually turns out to be one of the most atmospheric old city neighborhoods in North America. Coastal types pay good money to live in districts that only come close to approaching the charm and scale of this elegant neighborhood crowded with red brick row houses along impossibly well-kept streets.

(To top it off, this is the location of a charming guesthouse, perhaps one of the nicest in the Midwest.)

A visit to the North Market, with its artisanal food producers (everything from gelato to hormone free ham loaf!) and lively atmosphere, coupled with a trip up High Street, from the edgy Short North area past the boisterous university district and into the sedate suburb of Worthington (with a stop for ice cream at legendary Ohio churner Graeter's) just sealed the deal -- Columbus is vastly underrated."