(Styluses at the ready...) Vinylinum Habitus

I've been told I have developed a spending habit.  Clearly not true, though over the last few weeks I've been augmenting my vinyl collection in various ways.  While this post proves, indeed, that I am more hipster than you, it also proves that I am nowhere near as hipster as this person.

Deliciously swirled, translucent, vinyl discus.

I've recently retrieved some old favorites from storage at my parents' house.  These gems have been in waiting, faithfully counting the days in the closet of my old bedroom until they see the light once again.  The most note-worthy among them are some original pressings: Master Of Puppets (Metallica - 1986), ...And Justice For All (Metallica -1988), The Number Of The Beast (Iron Maiden - 1983), Powerslave (Iron Maiden - 1984), Sad Wings Of Destiny (Judas Priest - 1976), Blizzard Of Ozz (Ozzy Osbourne - 1980), and March Of The Saint (Armored Saint - 1984).  Listening to these classics has been a real treat of nostalgic delight.

I've also been hunting for some very particular titles...records that mean something special to me.  Comus' First Utterance is a very unique and inspiring album.  It's been repressed a few times since its first reralease in 1971, but always in short quantities; it sells quickly and immediately goes up in price when stock diminishes.  My 180g copy is from Rise Above Records (Relics).  I think it was a failure of a grey/white swirl, but I like it that way - it adds to the charm and oddness of this strange record.  As you can see the artwork is very 70's and just gorgeous.  The quality of the pressing is quite good as well; the audio sounds very clean and robust.

In a previous post I linked to a Youtube rip of Song To Comus.  Here's Drip Drip...

Lou, oh, Lou.  I would love to track down a vinyl copy of Beloved One if such a thing exists, but in the meantime I have managed to snag a copy of Lou Rhodes' One Good Thing.  It still seems to be floating around on the internet in various places for around $16...get yours while you still can.  This record sounds quite a bit different from its digital counterpart - perhaps partly the product of vinyl mastering.  The end result, to my ears, is a more smooth and mellow mix; the additional instrumentation and reverb feel more organic.

Opeth's Deliverance and Damnation...I purchased both of these at In The Moment Records, a locally-owned shop in Brattleboro, VT that specializes in vinyl.  These two albums were recorded at the same time, July through September of 2002.  I was a Senior at Ithaca College when they were first released and I very much associate that time of my life with these records.  They inspire within me creation and excitement for new opportunity.  Here and now they are found on 180g double LPs.  The first disc of Deliverance only contains two songs (one per side)...now that's how you do it!  The 1970's prog/psych vibe of Damnation is a wonder to observe on vinyl.

Baroness finally rereleased their first two EPs, First and Second, on vinyl in the form of one 12" disc.  This is Baroness before the multi-part harmonies...in fact these two EP's are more abrasive and metal than anything else they've done.  That said, while they lack some of the signature characteristics of Red Album and Blue Record, they do contain the necessary elements that make Baroness what they are...brilliantly awesome.

In my last post I mentioned Barn Owl...my order from Thrill Jockey Records came in.  Along with Ancestral Star I also ordered Eternal Tapestry's lastest, Beyond The 4th Door.  Both of these records are guaranteed to chill you out rather nicely.

Ancestral Star, Barn Owl's third album, is a lush and layered drone, teaming with minimalist beauty.  Here's a sample that I believe speaks that which my words cannot...

Beyond The 4th Door has been my introduction to Eternal Tapestry and I am quite satisfied - their third record provides a vibrant soundscape of psychedelic garage ambiance. These guys do what many other bands try to do, but they do it right...and rather fantastically well.  The disc is a really cool translucent yellow/black swirl that can be seen in detail in the first image of this post.

Last Saturday, April 16th, was Record Store Day - a true holiday for us analog music fanatics.  Rosie and I woke up early to drive out to In The Moment for when they opened specially at 9am.  I had three titles as my top priority, all of which I am very happy to report are now within my possession.  This first is the new Between The Buried And Me, The Parallax: Hypersleep Dialogues, which I shared in my last post.  The RSD exclusive pressing of 1000 copies were 180g colored vinyl records (mine is clear, as you can see below).  According to an interview with Paul Waggoner, Hypersleep Dialogues is part one of a two-part concept.  No word yet as to when BTBAM plan to release the second volume or if it has yet been recorded.

The next disc on my hit list was Neurosis' Sovereign rerelease, limited to 600 copies.  The vinyl is a 180g disc in a light violet (pink?) swirl.  Sovereign, which has been long out of print, was originally released in 2000 as an EP - though its four songs, recorded in the same sessions as Times Of Grace, clock in at around 33 minutes.  It will be released again shortly on regular black vinyl and CD by Neurot Recordings.

Finally, what would RSD have been without an Opeth single containing a song that has only ever been released in a video game soundtrack?  The Throat Of Winter is not what I was expecting at all.  The song is an acoustic jam with a 70's vibe, and offers quite an interesting listening experience.  Hear for yourself...

The 7" disc (yes disc) contains just the one song on one side.  What's on the other side?  A laser etched Opeth logo of course!

So with all of these recent purchases you may ask what's still on my vinyl short list?  The new Storm Of Light for sure, some Decemberists, the new PJ Harvey, Bloom by Lou Rhodes if I can track one down, Obscura's Omnivium, Soundgarden's Badmotorfinger, Isis' Wavering Radiant, and lots and lots of Patti Smith! Oh..and this.  ...so...styluses at the ready..."Vinylinum Habitus!"

Undeniable Truths

Rather than boring you all again with another long-winded tribute to just one artist or record, I've decided to change things up a bit and offer some quick suggestions for your listening enjoyment...

Grails - Deep Politics
I am quite taken with the new Grails record.  In fact, I've been in 70's psych-/prog-rock throwback heaven since it came out.  In a time when "retro" rock bands have become yesterday's fad, Deep Politics brings us back to why we use the word "classic."  Records that stand the test of time, no doubt, find their way to the hardcore music lovers of every generation.  No one can scoff at a child or teen picking up Dark Side of The Moon or The White Album at the record store...they can only nod in respect and confirmation.  Deep Politics is like Pink Floyd's Spaghetti Western film noir wet dream...and who doesn't want to find out what that sounds like???  Here's a sample from the record, perhaps my favorite track...

Grails have always had a particular approach and sound, and Deep Politics isn't a huge jump in any single direction, but it's definitely different and clearly a more refined body of work than previous efforts.  In years to come it may not be considered a classic, but for me it channels the energy and life of a "classic."

Obscura - Omnivium & Cosmogenesis
These two records are death metal must-haves.  Obscura, from Germany, play a brand of technical death metal that involves fretless bass antics, insane arpeggiated riffs, impeccable clockwork percussion, and lyrics centered around various philosophical -isms.  While Cosmogenesis is a more impressive display of techchnical skill and seemingly incorporates complexity for complexity's sake (or perhaps showboating), the songs of Omnivium are more varied, focused, and accessible.  I have been impressed on many levels with Obscura; if you are or were a fan of death metal, or perhaps appreciated bands like Death and Cynic "back in the day", you should certainly check these guys out.  Here's Vortex Omnivium... 

The riff @ 1:04 is just too good.

Barn Owl
Barn Owl are new to me, and I've been enjoying them so much I put in an order for the repress of their Ancestral Star record over at Thrill Jockey Records.  Barn Owl is a duo comprised of Jon Porras and Evan Caminitia from San Francisco; they create transporting soundscapes by elegantly blending drone, noise, ambiance, and overtones.  This song, from their The Conjurer record, is called Ancient Of Days, and is one of the most beautiful things I've ever heard.

Be sure to look for Barn Owl's new record, Shadowland, out this Summer Solstice.

Between The Buried And Me - The Parallax: Hypersleep Dialogs
BTBAM just ninja'd up on me and decided to release an epic "ep" tomorrow.  This is the record I've been wanting them to make for a while...three tracks, each around ten minutes long and filled with nothing but the best of BTBAM...a record short enough to be extremely focused and deliberate, but long enough to provide ample audial substance to its listener.  If you were to group White Walls and Swim To The Moon along with these three tracks you would have the perfect album.  Between The Buried And Me manage to be technical, melodic, poppy, progressive, metal, and hardcore all within a few minutes.  I'm not sure what to say so I'll just let the music speak for itself.  Here's the whole record...

Kaki King / Joe Robinson @ The Iron Horse

Photo source unknown.

April 2nd, 2011.  The Iron Horse Music Hall in Northampton, MA is a two-story restaurant filled with natural-stained wood furniture and upholstery, and containing a small stage near the front of house.  The sound quality, atmosphere, and decent beer list more than make up for the slightly uncomfortable chairs and wobbly tables.  All in all a relaxed and intimate venue.  I owe part of my appreciation of Kaki King to my friend Megan, who recommended her to me a couple of years ago; once I checked her out I was hooked.  I first saw Kaki perform in Spring of 2010 supporting her Junior record - in top practiced form, playing many new songs and band-oriented material.  Kaki King has ditched her band for this tour with the exception of Trumpeter/EVI player-turned sound tech Dan Brantigan.  For me this show serves as the perfect complimentary counterpart to last year's show.  This year she shares the stage with only her wooden, fretted friends; a semicircle of expensive and interesting guitars set the stage, staring down the curious crowd who await these instrument's master.

While we waited for the main act, we thankfully had Joe Robinson to warm things up a bit...ok, more like set things on fire.  Joe is an acoustic shredder from Australia who employs both traditional and modern techniques, and alot of natural harmonics; once in a while he'll throw in a touch of drifting or Travis picking.  Joe's music, centered around jazz chords and progressions, was performed flawlessly and with seemingly little effort.  The crowd fueled the guitar virtuoso through his set by providing ample applause and shouts.  Joe took some time from his crammed set to share his story of participating in a world-wide talent competition, where he was picked from thousands of competitors for the first place award.  He followed his story by performing the song with which he won the competition - a highly stylized cover of Mason Williams' Classical Gas.  While Joe certainly proved to us that he is an elite guitarist and performer, he struggled a bit with cliche lyrics and missed his mark with a very awkward cover of Somewhere Over The Rainbow.  By no means am I putting him down - think of it as constructive criticism.  Joe has some serious talent and it will be quite interesting to see where he takes it.

Shortly after Robinson wrapped things up, Kaki made her way to the stage, quickly said hello as the welcoming applause died down, and tore into her first song of the evening: Bone Chaos In The Castle.  Our reply was energetic - an anxious and excited homage to our guest for the evening.  While we did expect an incredible performance and hoped for a special song selection...little did we know we'd also be getting an education.  Prior to using each guitar, Kaki took some time to explain what it was and what made it unique.  Of course, between altered versions of her songs and new on-the-spot jams, she would also take some time to remind us, with her iconic Ovation baritone, that she's still King and capable of a serious and impressive display of chops.  Meanwhile, her guitar tech would be prepping the next "mind fuck" guitar....

Photo: Rosemary Wojtas

The first example of which was a seven-string fanned fret acoustic/electric, made by Andrew White, on which she played Doing The Wrong Thing.  Fanned frets are more ergonomic and supposedly offer more accurate intonation; this option is only available from a handful of custom luthiers across the globe, but it is gaining popularity.  Shortly after, Kaki switched to a Dojo (a cross between a banjo and a Dobro) to play Life Being What It Is.
Life Being What It Is on Dojo

On the seven-string, Kaki tried her hand at Andrew York's beautiful Andecy...
Andecy

...after which she picked up a tiny high-tuned twelve string guitar by Veillette Guitars called a Gryphon, on which she performed a cover of My Girl The Horse, originally by Fences.  She later used the same guitar to play a short Celtic ditty toward the end of her set.  From one extreme to the other Kaki traded her smallest guitar for her largest - a harp guitar - which she colorfully explained as the result of crossbreeding a guitar with an elephant.  Watching her play this monstrosity was quite a treat; her left hand tapping and pulling off the notes of the melody on the guitar strings, while her right hand provided the bass rhythm on the lower-tuned harp strings.  Throughout the song she would switch to Travis picking, playing two parts simultaneously on the guitar neck.  She carefully made her way through Michael Hedges' Because It's There; a tribute to her stylistic predecessor using the same instrument on which he used to play the piece...
Because It's There

Photo: Rosemary Wojtas

Taking a break from playing the songs of her heroes, Kaki treated us to a preliminary version of what may become a new song.  For this she lay across her legs a Hawaiian lap style guitar, called a Weissenborn guitar.  The result was an energetic slide guitar jam; it contained some sour notes here and there, but ultimately affected a very cool vibe and was certainly different from anything we've heard from her thus far.  She claimed that this song hit a certain stride with this evening's performance...perhaps something clicked as she made a more intimate connection with this odd instrument.
Weissenborn Song

Nails required not a strange guitar, but an unusual modification to a standard guitar.  The strings are all loosened such that a wooden block, or other solid oblong object, can be placed on top of the 17th fret.  The strings are then tightened again over the object.  The result, when tuned appropriately and played just so, altering the pressure on either side of a particular string, is a koto-like sound.
Nails

What was so special about Kaki's performance, and indeed this tour, was her intention.  What she brought along with her strange guitars was a particular attitude and a specific goal.  She's not aiming for perfection with each piece, but rather to break the mold of her own style and songs just enough to see what comes forth from the cracks; she's trying to leave her comfort zone and breathe new life into her creativity.  You could feel her nervous energy when she was stepping out of the box a little bit - trying out different variations, and improvising fills and cadences.  Sitting with an unfamiliar guitar, a guitar in an unfamiliar position, or one with an odd modification she was nearly forced to play differently - to make old songs new.  We got the sense that we were peaking in on Kaki at home, practicing and changing things up...what works?  What doesn't?  How would this song sound on this guitar?  What about on that one?  You could see clearly that this woman is ready for change...for something new and exciting.  And it is the perfect time of year for such endeavors...
Celtic Ditty on the Gryphon

She ended her set with Zeitgeist, featuring Mr. Brantigan on Trumpet, and finally Sunnyside, the last song of Junior and the night's performance.  After the show I waited in line for an autograph.  I'd say I hadn't done this in years, but just last Thursday I did the same with William Fitzsimmons, obtaining a personalized flyer for Rosie.  These two recent experiences felt so much different that in the past, when I had waited in line an under-confident teen hoping to meet his gods.  It was a more rewarding feeling shaking someone's hand as a fellow human and artist - an exchange of creative energy for which I am very thankful.  Kaki, with a smile, signed by Everybody Loves You LP, which I bought at the show.  I said my thanks and appreciation, and she hers.  "Thanks for letting me be a dork and signing my record."  She laughed and we parted with a nod.

William Fitzsimmons / Slow Runner @ The Starving Artist

March 31st, 2011.  Sure, William Fitzsimmons doesn't exactly book stadiums and arenas for his shows, but to come back and play another show at The Starving Artist - a small, homey artists studio in the heart of downtown Keene, NH - is certainly something special.  Such direct, honest, and emotionally charged music being shared in this intimate setting, really not much different than your neighbor's living room, made for an experience I will not soon forget.  Warmly greeted at the door by Laina, one of TSA's founders, Rosie and I arrived early and had our choice of seats.  Threes rows of folding chairs were set up facing the small area of the floor dedicated for William Fitzsimmons and Slow Runner.  Choosing the two center front seats we were practically on "stage" with the band, as can be witnessed by some of the pictures below.

Photo from Slow Runner's Website.

Michael Flynn and Josh Kaler, a.k.a. Slow Runner, a duo out of Charleston, SC, started things off with their particular brand of indie pop.  Here, they were accompanied by a friend helping produce the multiple layers of sound and rhythm of which their music is comprised.  Slow Runner's performance is something of a spectacle as Josh hops from pedal steel to standard 6-string electric to drums, and aforementioned friend Jonathan switched from electric bass to banjo to mandolin to synthesizer.  The whole time Michael keeps things from getting too out of hand by remaining behind his two synthesizers and providing lead vocals, the only constants throughout their set.  I'll admit that what I heard on their myspace page didn't really grab me...it either just wasn't my thing, or perhaps the production was too flat to do them justice...but seeing them live was a whole different sound and feel that I very much enjoyed; Flynn and Kaler's songwriting simply comes alive on stage as they offer a unique, fun, exciting, and conversely, somehow calming energy to their audience.  Not having been aware of them prior to the show, I am thankful to have had the opportunity to hear them play.

After a short break and an announcement from Laina, Slow Runner returned with William Fitzsimmons, as his supporting band for the tour.  William began with a new track called Beautiful Girl.  While his new record has not received the greatest reaction from long-time fans, it was clear from the audience's response that here in this house was great appreciation for William's step out of (or maybe just to the side of) the dark.  Gold In the Shadow, much as the title implies, marks a shift in songwriting from sadness and depression to hope and strength to pull through what seems insurmountable.  To me this message was always there, whether intentional or not, but Gold In The Shadow makes it a point.  Some have argued this new sound is too upbeat and poppy; what I hear is an artist embracing a side of himself which he has not yet shared through his music, and perhaps has not yet fully explored in himself.  When artists begin to too easily fill their own mold time and time again, they become predictable.  And predictable art is not very interesting...it's stale and stagnant.  Part of true artistic creation is willingly risking anything and everything for the sole purpose of one's expression...and furthermore never even recognizing any of it as a risk to begin with.  It may seem strange to think of writing a more upbeat and generally more mainstream record a risk, but William's new record is different from what he's done before and more importantly is sincere and inspired.

Photo: Rosemary Wojtas

William continued with a very well-rounded set.  He offered warm gestures of thanks, dark humor, and somewhat irrelevant but entertaining anecdotes between tracks.  Some songs were introduced and explained, whilst others were left to speak on their own.  His demeanor was down-to-earth and his presence comfortable and at ease; the show felt like a gathering of friends.  Between Everything Has Changed and The Winter From Her Leaving the audience joined the band in a jovial performance of Happy Birthday, sung for Jackie Plante, one of several Artists In Residence at TSA.  The song Goodmorning saw the entire band unplug their instruments and move to the back of the crowd - a special treat for those who didn't show up early enough to snag a seat.  I'm sure this was not something they could even do at most other venues, which added to the intimacy and energy of the evening.  The 15 songs in total were Beautiful Girl, Find It In Me, The Tide Pulls From The Moon, Wounded Head, Just Not Each Other, If You Would Come Back Home, Bird Of Winter Prey, Blood And Bones, I Don't Feel It Anymore, Fade And Then Return, Passion Play, Everything Has Changed, The Winter From Her Leaving, Goodmorning, and Afterall.  I recorded the show with permission, though the venue, mix, and my proximity to the band were not ideal for recording.  Where the quality lacks, warmth and charm are abound.  It was very hard to pick tracks from the set to share here - I hope I've done a satisfactory job with the following selection...
The Tide Pulls From The Moon (Live @ The Starving Artist)

If You Would Come Back Home (Live @ The Starving Artist)

Photo: Rosemary Wojtas

Passion Play (Live @ The Starving Artist)

I Don't Feel It Anymore (Live @ The Starving Artist)

The Winter From Her Leaving (Live @ The Starving Artist)

After the show Rosie and I spoke briefly with William, thanking him for another trip to Keene - this time, thankfully, not one we missed.