Three Imaginary Girls - Boston

The truth will catch you, just wait...

imaginary ash — Thu, 24 Jan 2008 15:17:49 +0000

7.7

http://cdbaby.com/cd/motionsick2

Boston foursome The Motion Sick have a keen ability to combine a dark, sinister side with glowing pop to create a slick sound that's equally danceable and eerie. Songs tend to sway more to one side than the other, but on The truth will catch you, just wait..., a delicate and compelling balance is struck in just over 30 minutes.

Opener "Jean-Paul" has striking guitars that call to mind "The One I Love"-era R.E.M. The dark overtones of the song culminate in a dreamy, almost whispery bridge spoken by a female voice. The song is an excellent choice to start the album because its intrigue compels the listener to pay attention and listen on.

Next up, "30 Lives" is a penultimate pop love song, so good in fact that it made my Best of '07 list. It has everything a good pop song should: Hand claps, hooks, ba-ba-ba-bas, horns, and the best bridge ever: Playing off the song's title and chorus of "I long to spend another thirty lives with you," singer/guitarist Michael Epstein rattles out "Up, up, down, down, left, right, left, right, B, A, select, start," a cheeky reference to the video game cheat code that grants the player 30 lives. This catchy segment is repeated through the end of the song.

They continue with the light and poppy "Walk On Water," an apt follow-up that keeps the catchy vibe going. It demonstrates the band's lyrical wit: "I could walk on water like I'm one of the chosen / I could walk on water, as long as it's frozen," sings Epstein. Those familiar with the band's previous effort, Her Brilliant Fifteen, will find this familiar territory for the Motion Sick; their lyrics are eloquently straightforward and occasionally incorporate snappy wordplay. But this album takes a turn in an edgier direction, building upon the band's solid songwriting and delivering a more emotionally fulfilling collection.

From there, the album slowly returns to a darker, more somber mood. "Losing Altitude" is a perfect ballad, the sort that plays in the background during the break-up scene, full of emotional distress and beauty all at once. "The Owls Are Not What They Seem" (its title borrowing a line from Twin Peaks) comes in next, speeding up the tempo. It's another dark-ish piece, with a chorus of "I won't let you run / no one can help you escape" and so on over feedback-y guitars.

"Tiny Dog (Nobody Cries)" is another ballad, in which Epstein's vocals portray a certain desperation on lines like "Nobody listens, nobody cares / nobody stalks you or blogs your affairs." Next, "Some Lonely Day" begins with an intro that sounds like it could be a Killers song, and then grows more complex and dark, with stark guitars returning.

Closing with a cover of "Love Will Tear Us Apart" as track 8 and a dance remix of "30 Lives" as track 9, the album's end feels somewhat abrupt. The cover, a staple of the band's live set, is well executed — but as this particular song is one of the more oft-covered songs of all-time, it is familiar. Following that with the remix of the now also familiar "30 Lives" may leave one feeling slightly short-changed at the end. The remedy? Start again from the top and rediscover the band's exceptional ability to beautifully traverse both dark and bright sonic territories.

{Below is the video for "30 Lives"}

Those familiar with the band's previous effort, Her Brilliant Fifteen, will find this familiar territory for the Motion Sick; their lyrics are eloquently straightforward and occasionally incorporate snappy wordplay.

Rilo Kiley at Avalon, Boston

imaginary ash — Wed, 26 Sep 2007 03:06:40 +0000

21 Sep 2007

rilokiley07sep.jpg

K, first of all, let me explain that I am a Rilo Kiley expert. Erik Gonzalez introduced me to them circa 2002 by putting "Paint's Peeling" on a mix, and ever since, they've been just about my favorite band ever. As such, I've seen them live many many times, and prior to their recent hiatus I had their playbook pretty much figured out. Their live shows would often feature instrumental intros and outros, little teases of older songs that morphed into newer ones, and a certain indie charm that made you feel like they were your pals. When they opened Friday night's show at Avalon with "It's a Hit," the same song they opened with at every More Adventurous show I saw back in '05-ish, I figured I was in for more of the same old Rilo Kiley (which to a superfan like me is not a bad thing).

It soon became clear that the band was not up to its old tricks; in fact, they had a bag full of new tricks that rendered them a whole new Rilo Kiley, a Rilo Kiley that no longer seems young and indie but instead was so pro and polished that their bona fide juggernautic rock stardom was unmistakable. And I, their biggest fan (ok, some may argue, but I'm writing this review so I win), was delighted, as was the rest of the packed-like-sardines crowd.

The band hit the stage dressed like the cast of a Fosse musical. Joining them onstage were Orenda Fink (of Azure Ray) on guitar and Kristen (of openers Grand Ole Party) on keys and horns. After "It's A Hit," they launched immediately into Under the Blacklight's "Close Call," and thundered through "Portions for Foxes," "Paint's Peeling," and "Breaking Up," on which Jenny Lewis made the cowbell sexier than it's ever been. The song, with its funky bass lines, was disco-licious, and showed a kind of musical maturity that totally sold me on the band's new sound.

I found that I really loved almost all of the new songs they played, and now I'm excited to get the record (I held off, opting to first experience the songs live instead). The one that fell flat for me was "Dream World," which followed "Breaking Up" in Friday's set. Usually I am crazy about the songs on which guitarist Blake Sennett takes the lead, but this one felt redundant, and in my notes I simply wrote "YAWN."

"Moneymaker" and "Wires and Waves" — the only pre-Execution of All Things song the band played — came next, and then the stage cleared out leaving only Blake and bassist Pierre de Reeder, who turned out a stunning duet on "Ripchord" with Blake on ukelele and Pierre on mandolin. Pierre then departed and Jenny came on to join Blake for "With Arms Outstretched," with full audience participation recalling the days when the band was still small-time enough to invite audience members onstage to sing along. These days they have a chorus of two thousand backing them up. In fact, during most of the show, the vocals were all but drowned out by the audience singing along at full blast.

The rest of the band returned and proceeded through "A Man, Me, Then Jim," "Silver Lining," and "I Never," which garnered a huge audience response and saw Jenny getting down on her knees at the end while she finished out her keyboard part during the song's reprise. Next came "Smoke Detector," on which Jenny displayed that although it may be true that she cannot do the smurf, she can indeed do the smoke detector. RK fans know what I'm talking about.

"Fifteen" came next, and then Jenny served up some of her solo material with "Rise Up With Fists," which, without the Watson Twins or Sarah Silverman, was okay but not outstanding. Not to be outdone, Blake took the wheel next and led the band through "Greetings In Braille," a song from his other band, The Elected. As mentioned, I adore Blake's material, and hold The Elected in the same esteem that I hold Rilo Kiley, so this was a big highlight for me. Jenny played melodica on this number, the inclusion of which I'm guessing may have been influenced by The Magic Numbers, who toured with The Elected during 2006 and who made the melodica hip. Regardless, I was thrilled for a brief detour into Elected territory.

Finally, the band erupted into "Spectacular Views," the final song from The Execution of All Things, which featured the crowd-favorite line "It's so fucking beautiful!" At the end of this song, they jammed out a bit on guitars while Jenny sang unfamiliar but relevant lyrics before bringing it back to "Spectacular Views" and ending the set on a ferociously high note.

Given that the band had played a solid hour and a half, and that Avalon transforms into a dance club after the rock shows end, thereby requiring a 10 p.m. curfew, my money was on no encore, as it was slightly after 10 at this point. But to my surprise they returned and finished up the night with "Does He Love You?"

Jenny Lewis has a stage presence that swallows you up and leaves you mesmerized. But it's the combination of her and the rest of the band — Blake, Pierre, and drummer Jason Boesel — that makes Rilo Kiley solid gold for me. They switch from one instrument to another with ease and nobody misses a note, while Jenny's flawless vocals soar through the venue. I have never left a Rilo Kiley show disappointed, and this may have been my favorite one yet. I'm still in love, and maybe more so than ever, with Blake & Jenny & Pierre & Jason.

My companion at the show, Mike Epstein (of Boston's The Motion Sick and Okay Thursday), found this link http://www.youtube.com/profile_videos?user=rottens304 to videos of the whole entire show, so if you're still not sure whether to love 'em or leave 'em, watch some of these.

Full set list:

It's A Hit
Close Call
Portions for Foxes
Paint's Peeling
Breakin' Up
Dream World
Moneymaker
Wires & Waves
Ripchord
With Arms Outstretched
A Man, Me, Then Jim
Silver Lining
I Never
Smoke Detector
15
Rise Up With Fists
Greetings In Braille
Spectacular Views (with new outro/jam)
Does He Love You (encore)

I'm still in love, and maybe more so than ever, with Blake & Jenny & Pierre & Jason.

Nikki Monninger, high five

imaginary ash — Thu, 07 Jun 2007 14:31:21 +0000

Nikki stuck around until every darn hand got slapped. Aren't they just the sweetest things?

Now this is the Boston I know and love

Erik Gonzalez — Thu, 10 May 2007 20:00:36 +0000

Ah yes, Boston. Home of the "Yankees Suck!" chant, the pizza throwing at Fenway and now, a brawl at a Boston Pops Symphony concert.

Yes, opening day excitement is not limited to the Red Sox as the first summer performance of the Pops (with special guest, Ben Folds ... ?) was disrupted by a shoving match in the audience that prompted the show to stop for a few moments. Shirts were torn asunder! Who knew sure fire existed in the Pops fans. Can't wait to see what happens on the 4th of July.

Straight from the horse's mouth, Silversun Pickups to play FNX Best Music Poll in Boston

imaginary ash — Thu, 26 Apr 2007 16:04:08 +0000

Just got this on MySpace. SSPU = WOO! Some of the other bands (esp. Cinematics) = MOO.

Betsy Boston’s Guide to the 2007 WBCN Rock’n’Roll Rumble

imaginary ash — Tue, 17 Apr 2007 17:49:25 +0000

Or, a quick and in no way complete sampler of independent music in Boston...

The Mitchells

admin — Mon, 09 Apr 2007 00:50:43 +0000

Township

admin — Sat, 07 Apr 2007 23:43:15 +0000

Lost in the Trees

admin — Wed, 04 Apr 2007 03:59:51 +0000

B for Brontosaurus

admin — Mon, 12 Mar 2007 23:08:54 +0000

Campaign for Real-Time

admin — Mon, 12 Mar 2007 23:08:54 +0000

Bon Savants

admin — Mon, 12 Mar 2007 23:08:53 +0000

Wind-Up Canary

Erik Gonzalez — Sat, 14 Jan 2006 08:00:00 +0000

8.7

http://www.hushrecords.com/onlinestore.html

caseydienel06jan.jpg

We live in a postmodern world. Nothing exists without the context of the reader and the writer. With that, I feel I must disclose a number of key facts about Casey Dienel and this review before I begin: (1) Casey is from Boston (the home city of your humble author, although I forgive her for recently moving to Brooklyn); (2) I saw Casey live (with Tiger Saw) on New Year's Eve in Somerville, MA and (3) I'm a sucker for female musicians, especially when they talk to me. That being said, I might have a predisposition to like her new album, Wind-Up Canary. Equal parts Rufus Wainwright, Ben Folds, Tom Waits, and Fiona Apple, Casey creates songs that skirt between somber indie-pop and cabaret.

One of the first things you notice about Casey during her shows is that she seems so demure and reserved during her intro that you'd be surprised if you could hear her if she amps went up to 11. Wrong. Wrong. Wrong. Once the talking ends and the singing begins, she suddenly becomes the Slayer, if Buffy was destined to sing and play piano. The audience eats out of her hand, sing-along when requested and responding when queried (nothing will get a Boston crowd going these days like an chance to diss Johnny "Turncoat" Damon), especially with her closing number "The La La Song" that trailed into the snowy New Year's Eve night air like an chorus sending 2005 off to pasture.

Wind-Up Canary captures much of the energy that Casey brings to her live show. Not surprisingly, most of the songs are dominated by her voice and piano and you feel like that's all she really needs. "Doctor Monroe" and "Embroidery" have a strong Rufus Wainwright feel to them, sounding as if we should be hearing the songs in a smoky bar late at night. Take that same bar setting and move it to the old west in the early 1900's and you get "Baby James" that has a Fiona Apple meets Sixteen Horsepower sound. Most of her songs are narrative in the Leonard Cohen/Tom Waits tradition, showing her strength in fashioning excellent lyrics that do more than support the melody. "We'll toast this death of summer months and summer warmth and summer love," she sings in "Cabin Fever" a song about the changing of seasons in New England, "as soon you get used to one season, it moves and that's all you can count on."

In a Ben Folds moment, "Frankie & Annette" tells the a Bonnie & Clyde-set-in-Boston story (starting at Fenway Park no less) that ends when, "They got caught by the cops when they got Columbus/Who is it that put you up to this?/Frankie said it was fate, Annette said it was love." Songs like these seem to go by so quickly as you get wrapped up in Casey's sparkling narrative lyrics. "Stationary" takes us from the smoky bar to the non-smoky coffee shop, replacing Casey's piano with an echoey acoustic guitar. This track is starkly contrasted by "Tundra" that probably has the most complex arrangement on Wind-Up Canary, with horns, strings and piano. This difference demonstrates the range song styles that Casey is able to master, as her voice feels perfectly at home in both settings. She closes the album with the aforementioned "The La La Song," a bittersweet lovesong about the end of the year, "It's funny, I like me best with a broken heart," Casey admits and takes us out with a melancholy chorus of "la la la" (see above).

Wind-Up Canary succeeds in being an album where you feel like the singer is opening herself to you, the listener, as if you are an old friend. Casey Dienel presence, both on the album and live, seems to be something special when even in a roomful of people you don't really know listening to a singer you've never seen before. you feel like she's singing straight to you. That quality is something many artists lack and it's hard to create — you either you have it or you don't. Casey has it in spades.

Equal parts Rufus Wainwright, Ben Folds, Tom Waits, and Fiona Apple, Casey creates songs that skirt between somber indie-pop and cabaret.