REVIEW: Wavves - King Of The Beach

7 comments




Wavves - King Of The Beach

Release Date: July 13th, 2010/Auguest 3rd 2010
Label: Fat Possum












ZACH THAT:

Respect the Wavves, I do not. Love their albums, I do.

“King of The Beach” is not just any other album; it’s an extraordinary release that marks a giant leap forward for the San Diego lo-fi wizard Nathan Williams. Before I praise Williams for one of the best albums of 2010 (so far), I would like to take a few seconds to explain why I really don’t want to experience this band outside their physical releases.

DISLIKE: Not only is Williams a complete asshole, this being documented by a string of juvenile events last year (fights and festival meltdowns), but his ego gets bigger with each interview I read. Be that as it may, I don’t really give a shit how “rock stars” act, just as long as it doesn’t come back to hurting fans who support a musician/band. This is where Williams really pisses me off. The guy is just awful live. He lazily makes his way through the motions, off and on time, missing chords, and generally not giving two shits. I will never fault anyone for not being talented and going in front of a crowd to perform music they love, but Williams gives absolutely no effort to improve his lackluster shows. Yes, a lot of his fans go nuts at his live shows, but for those who are trying to see how the music translates from album to live, it’s a guaranteed disappointment marked by his uninspired approach to playing the guitar.

LIKE: “King Of The Beach”. Scratch that, I love it. The album is sun drenched with thick, dripping hot, sweaty guitars that perfectly klang around with Williams' all out vocals. It’s an albums album; each song twisting into another with such ease that one can’t help but be impressed. The albums greatest strength is the extreme focus on every element of the song. On the amazing track “Post Acid”, Williams adds this gorgeous bouncy guitar at the end of his vocals on the chorus that calls on the genius of Pavement or the Pixies. With the addition of these little beautiful touches, Williams has graduated from fun songwriter to someone who needs to be taken very seriously as a master craftsman of melody.

It would have been so easy for Williams to hide behind his low-fi production that was displayed on the first two albums…let’s face it, we cut people slack if they don’t have the high production value available to them. Wavves went out on a limb (dug up the whole fucking tree more like it) and are better off for the risk. The mix on this album is stunning, sounding like no album I’ve ever heard. It’s packed with tons of influences ranging from The Kickstands all the way to a more current band like Animal Collective. The perfect example of this is on the track “Baseball Cards” where simple bouncy 60’s choruses are complicated and expanded upon by experimental shifts in melody that demand repeat listens to crack its complexity.

Not only is the music extremely catchy, accessible, and a basket full of fun…it’s smart, complicated, and challenges the listener to really investigate all the microscopic sound brush strokes Williams uses to create a near perfect record. The restraint, patience, and pure genius displayed on this album makes me want to rethink my position on Williams, but seeing him live twice and reading his interviews keeps me at arms distance. That’s the thing we all must remember: an album stands alone, everything that happens outside of the speakers is just unnecessary noise. I may not ever want to be friends with the Wavves, but the music on “King Of The Beach” can be the best man at my wedding anytime.

We Listen For You NYC Northside Show

Leave a Comment

ZACH THAT:

We're very excited to announce our showcase as part of Northside Fest at Glasslands on Saturday June 26th. Tickets are $10 at the door and free for Northside badge holders (highly recommend buying a badge as the festival is Brooklyn's SXSW and has an amazing amount of can't miss shows). Here is a look at the four bands we're excited to feature. (Here is the facebook event page for the show)

Family Trees
I just found out about these guys a few weeks back and their music immediately won me over. They have this 50's dream pop twisted into a nightmare sound that is both catchy and dark. WLFY slapped the Required Listen tag on them and we expect 2010 to be a breakout year for Family Trees.

Family Trees - "Dream Talkin"

The Zookeepers
This band is insane. I've been wanting to see them live since we gave them Required Listen a year ago. Explosive energy and beautifully twisted tunes should make for a can't miss set.


Slow Animal

This is my band to watch for 2010 as their free EP (grab it HERE) basically took over my iTunes. In a hypnotic state I played the five tracks over and over and recommended it to everyone and anyone who would listen.


The Pass
They're obvious WLFY favorites as we post everything they do. One of the best live shows I've seen this year, every set is an automatic dance party with five synths being played in the band. They're an 80's throwback with a Passion Pit/Phoenix feel. This is their first NYC show and I'm more than pleased to introduce them to the big apple.

First Hand Experience: Conan and Jack White @ Third Man Records

12 comments
(photo via Team Coco)
ZACH THAT:

The journey starts with four guys sitting around a table drinking beers in Louisville, KY. Joey (all photos were taken by Joey for WLFY see more on twitter @changingmyplea), Chris and Nick from backseatsandbar.com and I gather around an iPhone to take a look at breaking news (see the video) out of the Third Man Records camp. The video shows Jack White (The White Stripes, Raconteurs, Dead Weather) hanging up a poster on the front of Third Man Records, located in Nashville. The poster details an event with Conan O’Brien and say Thursday June 11th, first come first served. The video ended and the four of us looked at each other in silence. We all had the same thought but nobody said anything. Finally one of us stood up and said, ok, let’s leave in thirty minutes. It was all the needed to be said, everything was understood. Thirty minutes later I’m behind the wheel, a Honda civic packed with expectation, hurling deeper into the dark of the night that should really be called morning. It was 1am and Nashville was the destination.

Third Man Records is a building that looks out of place in a “rougher” part of downtown Nashville. The structure has a small room that opens at 12pm most weekdays and sells all sorts of Third Man merchandise. Two large garage doors are painted yellow and red (the yellow door for load in and load out and the red door is where White parks his Mercedes). Basically the building looks like a set piece straight out of Michelangelo Antonioni’s “Blow Up”. Across the street is a large homeless shelter and up the street a train track where loud noises radiated every thirty minutes on schedule. I pulled the car into the Third Man lot where there is only four parking spots and noticed two other cars waiting. The cars had two die hard fans waiting who we would spend the rest of the day with and become friends as crazy experiences like this tend to do. The girl had been there since 8PM the night before, the guy 11PM. When all was over, they both logged in over twenty-four hours to experience the intimate show.

Next to the building was an alley way and a large gate where this sign hung:
I sat on the curb, in a delirious state from the lack of sleep and waited. I was hungry, tired, wanted to take a shower, miserable. This is what the next five hours looked like:
The next day was a blur and reading about doing nothing but sitting is just as exciting then the sitting itself. Friends were made, beer was consumed, music played, and then from above Jack White began throwing water bottles to fans. (NOTE: He is throwing to the back of the line, people who just showed up…you can hear the die hards who had been in the sun for hours angry that he is rewarding the wrong group…none the less it was cool seeing a king throwing hydration to his peasants.)


The organization of Third Man was great but I have one big gripe and will get that out of the way before turning everything into sunshine and rainbows. With about an hour to go before doors the guest list line begins to fill. The regular line runs about 2,000 people deep at this point. The capacity for the Third Man venue is anywhere between 250-400…we’ll say they let in 350 people. They guest listed 94 people! Running this blog I do the guest list thing all the time and sometimes at huge venues each band is allowed four to five spots. The poster above says first come first serve but this was not the case as guest listeners showed up literally at 8pm, fresh, clean, and rested…while I sat there sunburnt, exhausted, and pissed off at these easy riders. I took my anger out on the first two guest listeners who ignored me for the most part. They completely shocked me when they saved us spots in front of the stage and literally allowed us in front of them once in the venue. This made me feel bad about being an jerk to them, but my anger was directed at Third Man because I know at least 350 people deserved to be there over the 94, they put in the time and put up with the heat. Now this didn’t change anything for 256 of us, but 94 people we’re bumped who sat outside for over seven hours. But enough griping, I’m in the venue and front row center. Can’t complain.

I fold my arms on the stage and rest my head on my hands. Closing my eyes I begin to debate what I’m more happy about: the fact that I’m about to see Conan and Jack White play some tunes or the fact that the air condition is going full force. The doors close and a large cheer goes up, we are the 350 people who will be able to tell our children, we were there…it’s an automatic moment not to be forgotten. The lights go down and Jack White jumps on stage to introduce Mr. Conan O’Brien:


THE SET LIST:


We all know Conan is the king of contemporary comedy but I had no idea how incredible of a musician he is. He’s a showman and his backing band was tops. On “Polk Salad Annie”, Conan put his own twist on the Tony Joe White classic (made famous by Elvis) by changing the story to a boy from Brookline, Massachusetts struggling with the perils of growing up as upper middle class and the shame of having lowly parents struggling to make it through life as an attorney and epidemiologist. Conan continued to dazzle with older standards, taking breaks to show off his unmatched wit and sharp banter, once going into a Tears For Fears song to appease a fan who joked he was there just because Conan tweeted that he would be only doing covers from TFF. The room exploded when Conan smiled and said “This ones to pay the rent” and blasted into a mind-blowing instrumental of “Seven Nation Army”. One of the stronger moments came from Conan doing a Thom Yorke impression by doing his version of “Creep” The joke at hand is that Conan said he can only do the impression by acting like an English chimney sweep…and continued the joke by changing the lyrics to fit the bit. In the middle Jack White threw a top hat on Conan’s head took the skit over the top, the run busting from laughter.

The Jack White returned for the last song of the night and words wouldn’t and couldn’t do justice for the experience. Two legends who are the top of what they do, sharing the stage, back to back shredding on the guitar and feeding off an insane crowd. The room was close to spinning off the earth and into vast universe. Hopefully a video will be posted because you need to see this last song.

The show was over...and I caught a Conan pick:

The entire show was recorded on reel to reel and made available for vinyl pre-order for the 350 people who attended the show.
We waited in line for an hour, saw Andy Richter leave, the whole band, and finally Conan…who after all he had done for us, tried to shake everyone’s hand, take photos, and sign these cards:


I placed my order for the vinyl, trudged back to the car and made the three-hour drive home. I arrived back around three in the morning, a twenty four hour trip plus some change, some 36+ hours without sleep, dehydrated, two hues of red all over my neck and arms. So, was it worth it? Yes, without even a spec of doubt. As I went to sleep I dreamt the whole event over again, but when I woke up I wasn’t depressed…it wasn’t a dream, we really experienced it all.

(excuse the typos, this is freehand, "i'm too tired to edit")

REVIEW: The Henry Clay People - "Somewhere On The Golden Coast"

4 comments




The Henry Clay People - Somewhere On The Golden Coast


Release Date: June 8th, 2010
Label: TBD









ZACH THAT:

About seventeen minutes into the new album from The Henry Clay People, “Somewhere On The Golden Coast”, frontman Joey Siara exclaims: “This aint a scene, it’s just a generation caught in between.” After a few beautiful moments of a slide guitar he goes deeper: “This aint a scene, it’s just a place to be.” This is the perfect summary of the current musical climate and why an amazing band like The Henry Clay People will struggle to get “cred” from hip blogs like Pitchfork. You see, “hip blogs” get caught in this typhoon of sounds/genres that mark a specific time. Right now, the majority of us bloggers are focused on the low fi/chillwave/electro movement. That’s all good and fine, but there’s amazing music out there going unnoticed. After hearing the new release from The Henry Clay People, I’m convinced that not only is “Somewhere On The Golden Coast” the best straight forward rock and roll album of the year…it might be the most honest collection of tunes I’ve heard in a long time.

Don’t get me wrong, I love music in all categories, but when was the last true rock and roll indie album? Remember, it was all the rage in the 90’s with Pavement, Built To Spill, Yo La Tengo, the list goes on forever. Now it seems you need a costume, a bunch of effects, neon lights, and it helps if you wear skinny jeans. There is something refreshing to hear an album for the music and not have any exposure to outside elements that might poison the tunes (looking at you Mountain Dew).

“Somewhere On The Golden Coast” is one solid song after another, each overflowing with a unique personal touch from Siara’s thoughtful approach to his lyrics. Call me crazy but Sierra is a young Paul Westerberg/Stephen Malkmus hybrd. Siara’s younger brother Andy is in charge of lead guitar and absolutely stuns on this new record. With the amount of synth music I’ve been exposed to (and loved) over these last few years, I forgot how powerful the traditional is when executed properly. Two guitars, Joey’s ripping vocals, drums, bass, and piano…that’s it.

This is the section in the review where I single out a few songs and show some strengths and weaknesses….but this is one of those albums…that is actually a start to finish album. Do you remember those? Yeah, I know it’s been a while, but “Somewhere On The Golden Coast” allows you to drop the needle and play it out until the last guitar pick. The album does a nice job mixing the tempos and there is a lot of maturity shown on this album, especially when they show a more emotional side on the tracks “Two Lives At The End Of The Night” and “A Temporary Fix”. For the all out Henry Clay fans, don’t worry, in addition to their older songs “Working Part Time” and “This Ain’t A Scene”, “Slow Burn” and “End Of An Empire” are all out rock songs that will have you listening over and over with constant tapping of right or left or both feet.

What’s funny and sad is that a blog like Pitchfork will ignore The Henry Clay People because of their genre and the fact that a clear focus is put on Brooklyn and not Los Angeles (don’t blame them, but LA constantly gets a raw deal). Pitchfork, as I’m writing this, still has not posted one track, reviewed one song or album, and this is baffling. I imagine we will see a medium score review here in the next few days, but THCP deserve better. The Henry Clay People have been around for years now, played SXSW several years in a row, had three nation wide tours, signed to TBD (Yeah, Radiohead, White Rabbits…kind of a big deal world)…yet they go ignored by New York/Chicago based publications. Ask any music blogger in Los Angeles who is the hardest working band that puts on the best live show…99% of them will point you in the direction of the venue Spaceland to catch one of the many The Henry Clay People’s sets. As I’m typing, my words don’t seem to be matching my emotions, so I will leave you with this: This is a damn fine band with an amazing new release. It’s time for the world to realize that The Henry Clay People are one of the most important new bands in the last few years. The Henry Clay People play their hearts out, play the music they want to hear, and never once apologize for not being the type of music that is buzzy at this moment. I think I found the simplest words for my emotions now: If you like good music…you’ll like The Henry Clay People and “Somewhere On The Golden Coast.”

REQUIRED LISTEN: Family Trees

Leave a Comment

ZACH THAT:

I've always been jealous of the teens from the late 50's early 60's. They cruise around in cool cars, drink from flasks, and have prom music that is both beautiful and eerie. The time was marked by straightforward songwriting that seemed romantic, but after close inspection the music had layers of darkness behind the klangy struck guitar chords.

Brooklyn's Family Trees isn't helping my jealousy as they are putting out music that plays off this late 50's idea of gorgeous melodies with shadows of deeper meaning. Family Trees are doing their own thing and it just so happens it's my thing too. I really hope this style of music catches on and with the buzz of The Morning Benders and now Family Trees stepping onto the scene it seems we're only at the beginning. The music from Family Trees is sincere, controlled, and has this unique aura that demands you give their sounds a spin. As far as new faces in 2010 are concerned, Family Tree is tops.

Family Trees - "Dream Talkin"

Order their debut 7" Dream Talkin
(Highly recommended)

MYSPACE