Things

Here's what I've been up to lately over at The Other Paper:

Review of Paper Airplane's new CD, White Elephants (local)

Low Anthem/Langhorne Slim live review

Reviews of Monolithic Cloud Parade's debut, Children with Wolf Heads, and Wing & Tusk's debut, The Secret of Toadflax Tea (both local)

Live reviews of Bicentennial Bear, Miranda Sound, Jon Chinn + 1803 (locals)

Larry Jon Wilson

Last year I talked to Jerry DeCicca of the Black Swans about an album he produced by a guy named Larry Jon Wilson, an old Nashville singer-songwriter who hadn't recorded a new album in almost 30 years. We chatted back and forth about the story for a while, and finally Drag City is releasing the record on Tuesday. So after a year of talking and exploring Wilson's music, I was at last able to put some words on paper. You can read the story in The Other Paper this week, or online here.

I had more fun working on this story than any others I've written in a long time. Hopefully that comes through. And I can't recommend Larry Jon Wilson's new eponymous record highly enough.

Recording

Wrote a cover story for this week's Other Paper about professional recording studios and home recording. You can read it digital-style here.

(Side note: Not sure why the sub-head for this story ended up being "Recording studios struggling in DIY era." Kinda oversimplified and a little misleading.)

Brian Harnetty - Treehouse, 1/16/09

It’s amazing what can fall through the cracks.

The Other Paper (and this blog) dedicates a fair amount of increasingly valuable print space to local musicians, either trumpeting their fine contributions to the Columbus scene or providing some (hopefully) constructive criticism that readers can digest as an intriguing analysis, helpful caution or yet more proof that we’re a bunch of buffoons who must have been at a different show or listening to a different album.

But Friday’s show at the Treehouse just proves there is always more to discover in this city. Before a few weeks ago, I had never heard of Brian Harnetty, even though he released a well-received album on Chicago’s Atavistic Records in 2007. His stuff is utterly unique, though I should probably stop being surprised at Columbus artists who are doing things unlike anything I’ve heard before. Harnetty takes found sounds and archival material and weaves them together with his own instrumentation. For American Winter, he immersed himself in the Berea College Appalachian Sound Archives in Kentucky, eventually coming up with a composition comprising old field recordings of songs and interviews, plus radio addresses and other various sounds, combined with live instruments that unobtrusively thread it all together like gossamer connective tissue.

Harnetty rarely plays live, so experiencing his too-short set at the Treehouse felt like a privilege, and the venue’s naturalistic, homey setting was the perfect spot for the intimacy of these songs--except for the frigid temperatures in that back room on one of the coldest nights of the year. Brrr. It wasn’t a scintillating stage show by any means, nor was it intended to be--just the tall, unassuming Harnetty seated below the Treehouse Christmas lights with his gear and occasional sparse accompaniment from others on drums, xylophone, etc. It was a stark contrast of new and old, with a laptop and various knobby devices settled next to an acetate-spinner playing worn, scratchy vinyl, full of authenticating hisses and pops.

Listening to Harnetty’s pastiches feels like eavesdropping on the past. He often includes the moments just before or after an old recording of a tune, capturing revealing comments about songs, or just highlighting the ponderous and sometimes awkward moments when the singer finishes singing--to great effect on “That’s Drunkard’s Dream, Nearly Everybody Knows It.”

Harnetty never overpowers the source material. His subtle accompaniment on the keys and various digital devices lends a sense of deference to the recordings. It’s music to drop your head and close your eyes to. Most of what he played was from the coming Silent City, which will be released on Atavistic this spring. The exciting wrinkle to these new songs is that they sprang from a collaboration with Will Oldham (aka Bonnie “Prince” Billy), who sings over the new arrangements in a way that feels consistent with Harnetty’s previous work. It’s still dreamily Appalachian, and all the lyrics are folk-song fragments combined with phrases from Oldham and Harnetty.

This collaboration with Oldham, whose fans tend to obsess over his prodigious output, could bring Harnetty a new level of exposure, and for good reason. Judging by the tunes he debuted on Friday night, the new stuff is just as strong, if not stronger, than American Winter, retaining that archival quality while inviting a talent like Oldham into his ghostly world.

mp3: Brian Harnetty - That's Drunkard's Dream, Nearly Everybody Knows It

(Also at The Other Paper)

The Other Paper joins the 21st century

It's true. The Other Paper finally has a new website that doesn't look like it was made in 1995. And all content is now online. (I may still post reviews here, too, for a while.)

I think what I love most about TOP is that the paper doesn't take itself too seriously. Case in point: The self-deprecating "Kicking things off" blog entry:

"Welcome to the World Wide Web! Here at The Other Paper, we've long been skeptical of the staying power of the whole Information Superhighway fad. That's why, until now, our website consisted solely of an animation of a flying toaster and a link to a local CompuServe provider.

But we've come to realize that the Internet (or "Internets" as the president refers to it) isn't going away any time soon. So enjoy our new, revamped site and all its awesome features and interactive options. We've spent the better part of two years putting this thing together (known as 'Project 1994' here at TOP Headquarters), so keep your negative comments to yourself.

You will now be able to find every story that appears in the critically acclaimed print version of The Other Paper, along with the Agenda, our weekly listing of goings-on around town. Readers can post pictures of themselves, local bands can upload videos and information about upcoming shows, organizers can directly post their events to our online calendar and people can post comments on our stories. We even have click-able ads for strip clubs.

Admittedly, we've yet to figure out how any of these features work, so bear with us for a couple weeks until we straighten things out. By the way, if anyone knows what the hell a ".pdf" file is, please get in touch immediately.

More importantly than the improved content and design, we figure there's a boatload of cash to be made by riding the Internet wave. What's that? People can get on our site for free? Oh well, back to the drawing board..."

Best albums of 2007

After all my fawning over The National, I was excited to see the band on the cover of Paste’s December issue. (The magazine voted Boxer as the best album of 2007.) But, I have to admit, I was selfishly a little disappointed because, well, I felt like I couldn’t pick Boxer as my album of the year anymore. Gotta be original, right? So I whittled down my list, reordered it, then reordered it some more, and grudgingly put Okkervil River as No. 1 (though I do love The Stage Names). Then I realized how completely stupid that was. What’s the point of being original if it’s not true? So Boxer is back on top. After listening to my top five picks again, it truly is my favorite album of 2007.

So here’s my top 25 with a quick comment about each, along with my five biggest disappointments and five overhyped (or overblogged, or overrated--you get it) albums of the year.

Top 25 Albums of 2007
1. The National - Boxer
Matt Berninger has the best baritone in rock, and he’s just as good at singing about white-collar malaise as he is about love, and often in the same song.
2. Okkervil River - The Stage Names
A close second. “Love to a Monster” is one of the best breakup songs I’ve ever heard, with lyrics that shiver uncomfortably with honesty. Sample lyric: “I hope you get angry and hurt and have the hardest of landings. And I hope your new man thinks of me when he sees what a number I did on you.”
3. Radiohead - In Rainbows
I was utterly shocked by this album. I really didn’t expect to like it, but it’s the best Radiohead album since Ok Computer in my book.
4. Ryan Adams - Easy Tiger
I think I’m one of the few people who thinks Ryan Adams isn’t prolific enough.
5. Southeast Engine - A Wheel Within a Wheel
Lots of Ezekiel references, other biblical imagery and lines out of the Norton Anthology, with a singer who conjures the voice of Jeff Tweedy and the phrasing of Ben Kweller. What’s not to like?
6. Arcade Fire - Neon Bible
Not a sophomore slump.
7. Spoon - Ga Ga Ga Ga Ga
If Spoon releases an album every year, it will almost always end up in the top 10. The band constantly reinvents itself, yet rarely missteps.
8. Weakerthans - Reunion Tour
One of the most underrated bands on the planet. Chewy poetic center inside a poppy candy shell.
9. Josh Ritter - The Historical Conquests of Josh Ritter
It’s hard to find a better songwriter than Josh Ritter, and it was nice to hear him expand sonically on this album.
10. Feist - The Reminder
Feist hops between genres seamlessly, simultaneously appealing to hipsters and their moms.
11. Andrew Bird - Armchair Apocrypha
Ethereal violin pop? By any label, “Imitosis” is one of my favorite tracks of the year.
12. Iron & Wine - The Shepherd’s Dog
Sam Beam did the impossible. He branched out in a way that pleased listeners who wanted some change, yet stayed familiar enough to make his loyal fan base happy (for the most part).
13. White Stripes - Icky Thump
Jack White gets more enigmatic with each release. It’s also a great album when you want to hear dirty guitars that can blow a speaker.
14. Blitzen Trapper - Wild Mountain Nation
I’m surprised this album hasn’t appeared on more lists. It’s a little uneven, but the bright spots are really bright. If you haven’t already, at least check out the title track, “Country Caravan” and “Big Star.”
15. Modest Mouse - We Were Dead Before the Ship Even Sank
The blogger backlash was inevitable after “Float On.” But I’d listen to a Johnny Marr Modest Mouse song over a Smiths song any day (see Iconic bands I don’t like). Give the album another try if you wrote it off.
16. The Everybodyfields - Nothing is Okay
A male-female duo with unique but complementary voices makes a depressing country album that for some reason isn’t a downer. Great fiddle, too.
17. Sea Wolf - Leaves in the River
“You’re a Wolf” is one of the best songs of the year, and the other tracks are solid, too, especially “Black Dirt.” Alex Church writes dark, folky stuff and adds strings to create Romanian overtones.
18. Wilco - Sky Blue Sky
I was disappointed in this album, but even a disappointing Wilco album is better than most releases. That’s how good Wilco is.
19. Band of Horses - Cease to Begin
Lots of atmosphere, lots of reverb, catchy tunes, a little twang. My Morning Jacket meets the Shins.
20. Akron/Family - Love is Simple
Watching these guys perform really made this album open up for me. “Don’t Be Afraid, You’re Already Dead” is gorgeous, and despite that title, the album is unironically uplifting.
21. The Shins - Wincing the Night Away
Backlash for this one was predictable, as well. It was disappointing, but like Wilco, it’s hard for the Shins to mess things up too much.
22. Josh Rouse - Country Mouse, City House
Another underrated songwriter who consistently puts out excellent albums that wallow in subtlety.
23. Ian Ball - Who Goes There
Ian Ball was always my favorite singer in Gomez, so this album plays like a Best of Gomez to me.
24. Yeasayer - All Hour Cymbals
World music, chant singing and indie rock. After more listens, it’s possible this one could climb higher in the list.
25. Devendra Banhart - Smokey Rolls Down Thunder Canyon
I guess “freak folk” and “eclectic” are redundant, but I’m amazed how Banhart managed to make an album that mingles ’60s folk, the Doors and a song about a briss that has him evoking a Jamaican Perry Como.

Top 5 Disappointments
1. Stars - In Our Bedroom After the War
2. Bloc Party - A Weekend in the City
3. Bright Eyes - Cassadaga
4. Ben Lee - Ripe
5. Youth Group - Casino Twilight Dogs

Top 5 Overhyped
1. Jens Lekman - Night Falls Over Kortedala
2. Panda Bear - Person Pitch
3. Animal Collective - Strawberry Jam
4. Sunset Rubdown - Random Spirit Lover
5. Peter Bjorn and John - Writer’s Block

Dylan/Costello review

Online here.

This week's Other Paper

No album or live reviews by yours truly in The Other Paper this week, but I wrote a profile of Scott Stienecker, president of PromoWest Productions here in Columbus. PromoWest controls most of the major live music venues in town, so he's in a unique position. You can read the full story here.

In the print issue, you'll also find show previews for Rufus Wainwright (playing tonight), WCBE's benefit concerts (The Strip III & Beyond) and Sleepytime Gorilla Museum--a band that scares me as much as it intrigues me. Here's a collage of performances from the group: