Contests end at 4 p.m. today. Both winners will be notified via e-mail so CHECK THAT SHIZZ between 4-5 p.m.
GARAJ MAHAL = Middle Eastern inspired jazz fusion quartet, featuring jazz guitar/sitar virtuoso Fareed Haque. At Cosmic Charlie's - tonight, Wed, 12/16 ~ EARLY SHOW, 7 p.m. $10/ 21+
To win tickets to see Garaj Mahal tonight at Cosmic Charlie's, e-mail kyblueline@gmail.com telling me the best gift you're planning on giving this year.
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Also tonight...
DEVLIN and DARKO - late show at Cosmic Charlie's (10 p.m.) $10/ 21 + Baltimore DJ duo best known for being part of SPANK ROCK. Dance party all night, featuring a late-late night DJ set by Dinosaurs and Disasters.
To win a pair of tickets, e-mail kyblueline@gmail.com telling me why you need a good dance party in your life.
Bill Callahan performed at Cosmic Charlie's in Lexington Monday December 7, 2009 Photos courtesy of Richie Wireman
Because I’m really not into writing reviews (I may have mentioned this fact before) and because the show was 4 nights ago, because I’ve already posted about his Smogness an inordinate amount of times in the not-so-distant past, and also because it’s coming on midnight and I am not quite on holiday just yet, I’ll keep this brief (famous last words).
Bill Callahan played a mesmerizing show to a crowd of 75 or so at Cosmic Charlie’s in Lexington on Monday, the third show of his tour with two new Drag City acts Neil Morgan and Lights. Unfortunately I walked in during the last minute of Morgan's last song, so I'm not really in a place to discuss his solo set (he also played drums with Callahan during his performance). I take it that he focuses on drums & layered vocals - it sounded pretty interesting and I look forward to checking out his debut album To the Breathing World in the WRFL playbox next week.
Lights is an all-female trio originally from New York. During their set, I had their sound nailed as falling somewhere in between Espers, Fleetwood Mac and Jane’s Addiction, with maybe even a spattering of Boris (?). However, a listening of Rites, their newest album, the next day didn’t quite evoke any those metaphors ~ I’m getting more of a Scissor Sisters/Roxy Music vibe now. I can’t find much info on them, but in talking to the drummer, Linnea Vedder, I did find out that she played in Brightblack Morning Light at some point, and also that guitarist/singer Sophia has recently moved to Austin, which seems to potentially call into question their future recording/touring plans. Lights' '80s dance beats and swirling, fuzzed-out guitar riffs seemed a strange complement to Bill’s precise and painstaking songwriting (it's entirely possible, I suppose, that Bill met and took a liking to the talented and attractive Sophia in Austin?). But that didn’t cause me to enjoy their set any less.
Bill Callahan's set list - December 7, 2009
Honeymoon Child (Woke on a Whaleheart - 2007) Bathysphere (Wild Love - 1995) Wind & the Dove (Sometimes I Wish We Were an Eagle - 2009) Distance (Dongs of Sevotion - 2001) Jim Cain (Sometimes I Wish We Were an Eagle) Rococo Zephyr (Sometimes I Wish We Were an Eagle) Natural Decline (Rain on Lens - 2001) Too Many Birds (Sometimes I Wish We Were an Eagle) Eid Ma Clack Shaw (Sometimes I Wish We Were an Eagle) Rock bottom Riser (A River Ain’t Too Much in Love -2005) Say Valley Maker (A River Ain’t Too Much in Love) Pines (A River Ain’t Too Much in Love) ENCORE: The Drip (?) Let me see the Colts
Callahan didn’t have a full band with him, just Morgan on drums and himself alternating guitar and banjo. So a number of songs lacked the string accompaniment of their studio versions, but they didn't suffer. Callahan pretty much had me from the first hook of the first song, “Honeymoon Child” (from the album 2007 Woke on a Whaleheart, the first album in which Callahan dropped his Smog nomenclature and started using his Christian name). As Callahan/Smog fans can see from the set list, he mainly stuck with newer material, from the past three albums. This was fine with me, being an admitted a johnny-come-lately fan. I was never familiar with Smog. My initial Callahan experience came with the Whaleheart track "Diamond Dancer," which was really popular on WRFL a couple years back. While I've grown to appreciate the song now, the repetitive, off-kilter Americana factor really didn’t resonate with me at first. I actually recall being seriously bewildered about the fact that people whose taste I had come to trust and respect kept playing this confounded song (it's a similar sensation that I get when I find out that friends of mine like Vampire Weekend or Steely Dan - an odd, disorienting, where-the-hell-am-i sort of feeling). In fact, Diamond Dancer was so overplayed that I didn't really even give Whaleheart a chance.
But then Callahan went and released Sometimes I Wish We Were an Eagle earlier this year. And some time over the past eight months I have completely fallen in love with this album. It kind of snuck up on me - it's one of those albums that I primarily listen to when by myself, and then listen to again, and again. Admittedly, it’s really not the type of jam I typically go for, but I can probably chalk that up to the fact that I have found few contemporary songwriters who pull it off in a way that’s half as compelling as Callahan. Strangely, in some ways I felt that the show redeemed the fact that I completely flummoxed the chance to see Leonard Cohen on his most recent tour, which I have been kicking myself over all Fall. But in other ways it made me kick myself even harder, remembering how refreshing, rejuvenating, shows like this can be - stark and stripped down, no frills, relying on the power of poetry and the human voice (P.S. Bill's got one of the best voices around - in a small dark club as well as in the studio).
Throughout the evening, I kept finding myself trying to approach the show as though I had never listened to Callahan before, realizing that even though most of the crowd likely consisted of fans who were much better versed than I (and therefore may have even been disappointed that Callahan didn’t delve deeper into his 13+ album catalog), a number of the people in the crowd probably hadn't. All this really helped me formulate is that Callahan is a powerful, compelling songwriter but in a strange, can't-put-my-finger-on-it kind of way. He may have influenced a generation of lo-fi, experimental singer/songwriters, but he doesn't fit neatly in the categories of "lo-fi" or "experimental," or "Singer/songwriter" for that matter. At any given point, you don't know if he's inside the box or out. And maybe it's because of that that he has the ability to captivate the the 20-something indie-rock fans; the Greek college contingency; middle-aged, goateed men with leather jackets; experimental music enthusiasts; starving poets and amorous girls, and anyone else who stumbles in his path – seemingly without effort. His lyrics are stark but elusive. His songs are romantic with a twinge of underlying sadness. They would be as fitting in the movie Juno as in a David Lynch film. A friend who had never heard Callahan remarked during 'Natural Decline,' his favorite song of the set, that it made him feel like he was in a dive bar in Dallas. The venue manager, who was unfamiliar with Callahan before the show was booked, likened Callahan to David Berman (Silver Jews) and Willie Nelson, and remarked (more than once) that it was the best show the new bar had seen in its few months of existence.
While Callahan's songs would very well be nothing without his voice and deadpan delivery of lyrics, they are about the empty spaces, the withholdings, as much as anything else. Onstage, in those empty spaces, the moments where he's not singing, Callahan comes across as almost shy, out of his element, like he's not completely comfortable with so many eyes honed in on him. This was maybe a bit surprising, given his deep, unwavering voice, but it was somehow refreshing at the same time. At moments, he would dive into certain parts of his songs with a ferocity reminiscent of Will Oldham, shaking his head and walking in place, or kicking his heels together "jaunty like a bee"; but the mood Callahan evoked was overall reserved and stoic, closing his eyes as if channeling something from another place, and at times glancing nervously down at Matt Jordan's camera (where those pictures at, Picasso?).
Bill the dapper man Callahan Photos courtesy of Richie Wireman
If Callahan is coming to a venue near you, go see him. I don't care what kind of music you're into.
Congratulations to Brian Ronk for winning the Bill Callahan tickets tonight. Yes, Brian is a buddy of mine, but I guarantee he won the random drawing fair and square (just ask my friends who have tried to get me to rig contests in their favor - that's not how we play here at Blueline). Also congrats to Jaime Lazich who won via Smiley Pete.
Brian said if he were to have a one-word artist alter-ego (like Smog), it would be DROOL. Other notable artist one-word artist alter-ego entries I got included
My e-mail address is kyblueliine@gmail.com (not kyblueline@blogspot.com). Apologies if you tried to enter the Bill Callahan contest and your e-mail got rejected. Still taking entries until 3 pm or so; see entry below for details!!!
Hey! I have a pair of tickets to give away for Bill Callahan show at Cosmic Charlie's on Monday, December 7 (21+).
Since I'm short on time (as usual), I'm just gonna copy the informational schpiel I wrote about him for the contest at Smiley Pete (which you can and should enter as well):
Bill Callahan (known at times as Smog) began his career almost 20 years ago with experimental lo-fi recordings, mostly instrumental, that he made himself. Eventually he caught the attention of Drag City Records, who signed him in 1993, and his work since then has evolved into much more clean and polished ballads that showcase his distinct baritone voice as well as his deadpan delivery of lyrics that somehow resonate equally with darkness and beauty. This beloved fixture in the indie community will be giving an intimate performance, presented by Sprouse House Productions, at Cosmic Charlie's on Monday, December 8. Lights and Neal Morgan will open.
To enter, e-mail kyblueline@gmail.com and tell me which one-word alter-ego name you would sometimes use if you were a singer-songwriter. Winner will be chosen randomly (not based on the merit of his or her response) on Monday around 3 p.m. Make sure you leave your contact info.
So, this is kinda old news.......like 2 and a half weeks old......but Knoxville avant garde music fest Big Ears has announced that experimental composer TERRY RILEY, who has been produding acclaimed minimalist compositions since the '60s, will be the Artist in Residence for it's second annual event in 2010. Ummmmm.....rad???
from the Big Ears website: "Riley will perform several concerts during the weekend, in a variety of configurations and settings. In addition, there will be performances of several string quartets by the acclaimed Calder Quartet. Big Ears also plans to host a performance of In C with many of the other musicians performing at this year's festival."
For those unfamiliar with Big Ears, it started by promoter Ashley Capps of AC Entertainment (AKA the man behind Bonnaroo). Dude has the business sense enough to know that booking acts like Bruce Springsteen, Phish, Tool, Neil Young, Snoop Dogg, etc. will bring in the cheddar at Bonnaroo, but fortunately for the experimental music lovers, he also has the disposable income and the impeccable taste to book acts like Neil Hamburger, Fennesz, Michael Gira, Negativland, Philip Glass, Dan Deacon and Pauline Oliveros, all of whom performed at Big Ears '09. I've read some interviews in which Capps explained that his taste in music has always leant toward the avant garde/underground, and he finally found himself in a position to book a festival of the bands he really loves, despite the commercial viability of such a line-up.
The 3-day, multi-venue fest was small and manageable last year, with the biggest venue I went to, The Bijou Theatre (where Philip Glass and Michael Gira performed), holding less than 800. Venues included nightclubs, coffeeshops and art spaces, and were highly navigable, for the most part. There were a few first-year kinks, to be sure, but overall it was really well executed. I kinda feel like I owe a lot to this fest - not only did I witness one of the most stunning performances I've ever seen (Philip Glass and Wendy Sutter, OMG), but seeds for Boomslang, the WRFL festival I helped curate this past October, were definitely planted that weekend.
Big kudos to Big Ears - I look forward to the rest of the line-up and details, and I highly recommend trying to make it if it sounds at all like your bag of tea. (Last year they had tickets for individual shows available, as well as various weekend pass options.)
Bob Levin of The Comics Journal recently interviewed longtime staple in Lexington's underground literary/music/general weirdness faction, J. Todd Dockery. I bought his newest book, In Tongues Ilustrated, for my special gentleman friend earlier this year, and I gotta say, it's an absolute gem. Lots of love went into the production; a highly recommended gift for anyone in your life with an apprecation for dark and vulgar brilliance. (I got mine at Morris Book Shop, I bet they'd hook you up with a copy too.)
P.S. In addition to being a brooding artist/poet/graphic storyteller, JTD is also is one half garage-punk-on-crack duo The Smacks! (Can we maybe get anozzer Lex gig for the holidays, boys?)
Incredibily rushed listing of some of this week's goings on......feel free to post your event in the comment section if I left it out. xo.
Wednesday, December 2 (tonight!):
Shedding, Tiny Fights, Talk Normal at Skull Alley (Louisville) - all ages, $5. Shedding = Louisville 3-piece featuring Connor Bell, Tim Furnish and Joey Bell (all of whom, I believe, have been in the band Parlour at one point or another). Haven't had a chance to check out much of their stuff but it has described by Bell as an attempt to rearrange his melancholy singer-songwriter tunes into some sort of futuristic pop sound. Talk Normal =
Hive Jive Wednesday at The Hive Art Haus & Salon. Dance party at the newest local "rockeasy" (terminology courtesey of local radio personality Unca' Bill Widener). 156 Deweese St. 9 p.m.- midnightish, all ages, bring yer own bevvies.
Thursday, December 3:
ARA, Everyone Lives Everyone Wins, terribleMASK at Al's Bar.ARA = experimental duo featuring power couple Trevor Tremaine and Sara O'Keefe (members of Eyes and Arms of Smoke, Hair Police, ATTEMPT, and so forth). Everyone Lives Everyone Wins = Lexington drone lords make their debut at leading Lexington hipster dive (and also the public debut of some new jams). The loudest darkness in town. terribleMASK = new droney project of a local guy named Robert - don't know much about him except that he's young but has astonishingly good taste in music.
Talk Normal, White Walls, C. Spenser Yeh at Art Damage Lodge (Cincy). C. Spenser Yeh being, of course, the man behind the genius violin noise freakout project Burning Star Core.
Friday, December 4:
Benefit for Kelly Feinburg featuring Tiny Fights, Rainjunkies, Freak the Mighty and more at Al's Bar. Feinburg is a UK English professor who is battling cancer. Proceeds will benefit her family (she has a young child) and the massive medical costs that accompany the bastard disease. Good jams, a good cause.
Open Studio at UK Reynolds Building. The one night a year when the University of Kentucky's student and faculty art studio is open to the public. Great art, and a lot of it is for sale, on the cheap. Featuring dueling DJ sets by WRFLians Patrick Smith and Jamie Lazich). 6-8 pm.
Saturday, December 5:
Latin Heat, Idaho Alaska, J. Marinelli @ Al's Bar.J. Marinelli = one-man garage blues show. Latin Heat = local rock that's not afraid to actually rock. Idaho Alaska = Modest Mouse meets Pavement ~ intellectual indie with a spine.
Softcheque, Second Story Man, Straight A's at Skull Alley (Louisville). Not that familiar with Second Story Man but this is their album release party I think. I caught Softcheque recently and loved 'em - a singing saw, two female singers with amazing voices, minimal but compelling keys and drums - French-sounding femme fatale; RIYL Broadcast, Stereolab.
A Celebration for Shoeshine at The Kentucky Theatre. This memorial celebration for Louis "Shoeshine" Cobb, a downtown Lexington fixture who recently passed away, starts at 10 am and will feature a showing of the documentary "Can't Stop the Shine," created by Lexingtonian Erin Mcanallen a few years back. Food will be provided by Bourbon-n-Toulouse and a video camera will be set up for folks to share their memories of Shoeshine.
The Last Waltz at Buster's (as performed by a boatload of Lexington musicians). For more details and a chance to win tickets, visit my previous entry.
Sunday December 6:
Grandchildren, Idiot Glee, Tiny Fights at Al's Bar. Grandchildren = from Philly; RIYL Animal Collective. Tiny Fights = local psychelectronica trio (for lack of the ability to concisely describe their completely original and amazing stuff); always a really fun time. Idiot Glee = new solo experimental pop project of the illustrious James Friley (of Bedtime/SpeechBoys; co-organizer of Boomslang/ general sweet dude), who, you may have noticed, kinda blew up in the blogosphere yesterday following YouAintNoPicasso's glowing review of his new single "All Packed Up." Keep your eyes peeled for a split cassette with The Butchers, out any sec...
The line-up for the Third Annual "Halfway to Forecastle" event, on Jan 23 has been announced. The event features a couple of firsts: the first all-electronic line-up in the festival's history as well as the first official concert in Electric Blue, a 20,000 square foot industrial warehouse space in Louisville, with artists performing on 3 stages.
From the press release:
"Advance tickets are $15 and can be purchased online at http://www.etix.com or at ear X-tacy records, located at 1534 Bardstown Rd, 40205. If available, day-of-show tickets can be purchased at the venue. Organizers note the previous two Halfway events have sold-out in advance.
A vast collection of Lexington musicians recreate The Band's The Last Waltz this Saturday, December 5 at Buster's. 8 p.m.; $10.
Recreating The Band's legendary last concert (captured by Martin Scorcese in the concert film The Last Waltz) has been an annual tradition for Lexington musicians for a number of years. The event has taken place at The Dame in the past (both locations, I do believe) and now Buster's has rightfully taken the reins. Good thing, too, because in the past, the event has tended to sell out and people have been turned away. Buster's will provide much more room to dance and belt out "The Weight" at the top of your lungs without having to scream in someone's ear (note: Blueline does not endorse loudly singing along with the band at shows).
The event is spearheaded by Tula, a Lexingtno band who doesn't play out all that often but always nails this show each year. They'll be joined by a massive all-star list of guests, including Robbie Cosenza (These United States, The Scourge of the Sea); Corey Wilson (Coralee and the Townies); Nick Stump (Metropolitan Blues All-Stars); Gabe Hensley (The Other Brothers); March Madness Marching Band and others!
Tickets are $10. If you wanna win a pair, e-mail kyblueline@gmail.com and tell me your favorite song by The Band. I'll draw a winner Friday morning so be sure to check your e-mail Friday after 10 a.m. or leave your phone number so I can contact you if you've won.
