Tuesday, June 29, 2010

Hanalei - "One Big Night"

photo by Mitchell Wojcik 

Back in 1999, my awkward 16-year-old ass had just formed my first legit rock band. It was also the time that I started getting into a local music scene. One of the first shows I remember - was partaking in the poppy/punk outfit The Wunder Years in Cotati at the Inn of the Beginning. Here were these guys  - not much older than I was - so flippin energetic and talented. The audience was engaged, and every movement and note was an epiphany. There I was, front of the crowd, eyes wide - soaking in the dynamics and the charisma of lead singer, Brian Moss. This kid - flailing voice -had conviction. He and his guitar lurched toward the mic with every inflection - a sermon. Amidst my indulgence, I was knocked forward into the stage - my forehead kissing the headstock of Brian's guitar.

I left that show with a swollen forehead, a Wunder Years shirt, a copy of their album "Pitstops on the Road Less Travelled", and a permanent impression. That show, and that record, were fundamental in what propelled me forward into my own music career.

I followed The Wunder Years (through two records and a lineup change) up to their demise in 2001. I continued to follow Brian's projects thereafter - he moved to Chicago for a while with his much heavier band The Ghost. They had much-deserved success with a record, touring and recognition. (During his time in Chicago, he began working on some quieter material - which would inspired various versions of his Hanalei project.) Brian returned to California about three years ago. Since then he formed the heavy outfit Olehole, and he also spent more time working on Hanalei, this time as a solo endeavor.

After years without a formal release - Brian emerges as perfectly himself, by himself - with the release of Hanalei's "One Big Night" (Brick Gun Records/Big Scary Monsters). He recorded this full length over the course of two years - impressively, with the pinhole mic in his laptop computer. This is certainly not a polished a mastered release - but it is certainly tangible.

Each of the ten songs is its own animal - varying in recording approach, subject matter, and even genre - but the soul of Brian Moss lies consistently at each song's center, creating cohesion. Brian's strengths lie in his narrative lyrics - and his tasteful guitar approach allows for memorable hooks without the music getting in the way of his stories. This album seems to be a examination of the concepts of home, love, and community - most of which come across as personal. His voice is dynamic - and through talk-like melody to gritty cries, he successfully gets his points across with humanness and honesty.

I am impressed at Brian's ability to be so familiar and fluid with genre. He goes from songs with sweet folk elements to anthemic americana - simple, flailing punk to heavier blues moments. I appreciate his ability to sonically pay homage to more traditional solo acoustic approach, and also to modernize with drum programming and a use of vocal layering that at no time takes away from the integrity of the song's foundation. This is a man I can tell that really listens to music, and answers back to his influences.

I've had the pleasure of knowing of Brian over the years and more recently, sharing a few shows with him. It's very easy to get into his music and support him because he is the real deal; Sincere, accessible, and genuine. 

My favorites on this album: "Keep Digging", "Moth to the Flame", "Neverending Cigarette", and "Into the Black".

My only criticism: A few of the songs could have used a boost in vocal volume. I get the whole indie low-volume thing, but his words are so good, I felt slightly inconvenienced to work so hard to hear them.

You need to own this record. Thanks Brian, this is one of my favorite records of the year.

Tuesday, June 8, 2010

Loquat/Hot Toddies/The Frail/Lindy LaFontaine - The Rickshaw Stop, SF

Kylee Swenson, Chip Cosby, and Anthony Gordon of Loquat

I concluded an absolutely delicious summer day this past Saturday (6/5) with a show at the Rickshaw Stop in SF.
The show was in celebration of the Hot Toddies' new CD, "Get Your Heart On".

Opening up the show was Lindy LaFontaine. (Niki, Betsy, and I shared a stage with her for Songwriters Sunday at Yoshi's recently.) Lindy was accompanied by her trumpet player Derek Alvarez and their new guitarist Nino Fernandez. Lindy has that jazzy, sooty, ethereal thing happening. I definitely heard some Tori Amos and Cocteau Twins. The trio worked very well together - and they were wisely accompanied by drum sequencer, which added to the sultry triphop elements. It was a fine way to start the show - I was happy to have my feet up on the balcony, get my initial beer buzz, and take in the atmosphere.

Electropop group The Frail were second at bat. This trio is SF based - and I've been hearing a bit of a buzz about them... it turns out for good reason - they are the epitome of a good time! Vocalist Daniel Lannon effectively crooned and fretted overtop of a fashionable frenzy of programming (executed by the cool, calm, and collected Kevin Xiu). Daniel was a sweaty, melodic dreamboat - unpretentious and sincere. Icing on the cake was drummer Tim Sams - who locked tight with the digital accompaniment - adding human enthusiasm with mechanical accuracy. He was rocking so hard he kept moving his drum kit across the floor. It took a big bouncer guy and several sandbags just to keep it still! The gentlemen of The Frail soaked the crowd with energy and accessibility. My shy ass was front and center, dancing like I could care less!

Next up - The Hot Toddies (vocalist/bassist Heidi, vocalist/guitarist Erin, keyboard/vocalist Jessica, and drummer Sylvia) - a four piece of adorable women playing sweet, harmony-laden indie pop. They struck me with an unassuming, amateur approach - young musicians with a basic grasp on how to play their instruments - but it was charmingly ironic. They are successfully pulling off classy doo-wop and incorporating grunge and punk elements.
I certainly get decades of heartstrings plucked listening to them- super early days of the Beach Boys - teenage days listening to the Donnas. They sing about being young, drunk, and naughty. Timeless stuff. I'll be honest that I wasn't blown away by their stage energy or musicianship - but the Hot Toddies work as a team and have something totally badass going for them. Their new record, "Get Your Heart On" is certainly worth having when you feel like bobbing your head to some sugary lo-fi rock n roll.

I was more than excited to see Loquat take the stage to finish out the evening. I first fell in love with the rich voice and clever lyrics of Kylee Swenson when she did a remix of the song "Comrades and Friends" for From Monument to Masses. Soon after, I found that Betsy shared my enthusiasm - and she shared with me the magic of Loquat's two albums - 2005's "It's Yours to Keep" and 2008's "Secrets of the Sea". Both records are awesome - and the latter is one of the most prominent in the soundtrack of my life.

What I like about this band - they are dimensional. They have a deep sound and consistent identity that incorporates some of the best qualities of rock and pop - raw talent and well-rounded tone, real instrumentation and inflection - with smart digital embellishments.
This was my first time getting to see Loquat live - and I sometimes get anxious that a band that I'm so attached to on recording might not up to their reputation live. I am pleased to say - my love for this band was reiterated upon seeing them in the flesh. Front and center, I welcomed them in as they sonically rose and bounded into me like a giant wave.

Kylee is a commanding storyteller with a smoky and confident voice, and she fearlessly approaches melody. She was poised and accurate live - while remaining fetching and sincere in inflection. Her band worked with her to execute these gems. Chris Lautz (drums) and Anthony Gordon (bass) are an authentic heartbeat of a rhythm section - providing a solid, honest and appropriately danceable foundation. Keyboardist Chris Cooper makes sensible statements with a combination of witty synth lines and moments of graceful piano. My favorite part was the guitar work - Kylee diligently keeping the driving rhythm parts - and new guitarist Chip Cosby - investing genuine energy and atmosphere to the songs. (He played with respectful homage to the recently retired Loquat founding guitarist - the percussive, melodically brilliant and commanding Earl Otsuka.) Chip also demonstrated his valid role and place at home with the band on several new songs they played that night.
Great songs, great tone. I was moved and convinced. Well done, Loquat.

I had a great night overall, and found something I truly appreciated about each of the acts.
The Rickshaw Stop was a great venue for this show - intimate and simple. The sound system had its ups and downs, but I felt like each band came across. I liked the balcony too - and appreciated that they had an artist working live as the show was happening. I liked the DJ between sets. I think I'll definitely see more shows there.
(Becah, Keely, Sam and Micah - thanks for being such awesome dates - you made my night).

Wednesday, June 2, 2010

ROSA - about the lyrics

Making my way through the "Look Up Now EP"...
"Rosa" is a song about leaving. The character - Rosa - is the personification of the city in which I live - and often a reference to the community I have here. At the time I wrote it, its meaning was more abstract for me. On its second way around (almost exactly a year later), I examine it in a much more literal sense, as I prepare to move to San Francisco. Music is so badass in the way that it puts a soundtrack to our moments - even as circumstances change, the meaning is still fitting. (I'm stating that last part with humility - it's certainly not just my music, but the fantastic malleability of music in general.) I'll share the lyrics and then elaborate on its many applications.

ROSA
I packed up all my things, took all my chance and integrity -
no way to predict near future, no one along to keep me company.
Too long a drive to hold my breath the entire time -
a few sweet gasps, I freed myself, bound for another life.

*Rosa, you've become the one, to hold my gaze a little too long
My days, my ways - a little too safe -
my heart has settled, hairs have grayed
(And the though I love you just as much,
the world is calling me to touch outside your walls,
the strains and falls that cause another layer to form.)*

Will the next thing - next phase - look anything the same?
Will I drink from a similar stream or get caught up in the wrong scene?
Webs to ravel, seeds to sow - will the intuition flow?
Will I stop referring to you to you as home?

The original intent of the song - it served two purposes: My good friend Selena was moving away from Santa Rosa a year ago. I spent much time with her during her process and final decision to leave. During this same time, I was struggling with a relationship and the final decision to leave it.

Our commonalities - the comfort. The safety of a situation we knew - that knew us. There are, however, in this reliability - ghosts of what-ifs that plant seeds in the back of our minds; Is this the me that I want to know? Am I solidifying before I really have been shaped the way I want to be?
When we build relationships with a community - it gets difficult to tell if our dynamics with them are supporting or hindering us. When we get so close - how do we maintain our personal identity and accountability? Sometimes we have to separate from what we are tied to in order to determine what defines us.
This process of disconnection has the risk of leaving us less fulfilled as well - the last verse of the song entertains the idea that it might just be left with our own deficits once we go. Our own issues will follow us to the next phase... the next relationship, the next city. We may subject ourselves to trials of relationship and lifestyle that leave us worse off. It's part of the romance, that risk.

I think this present society lacks good facilitation of rights of passage. That's not to say we aren't experiencing things that are changing us and making us grow - but not always by choice. When things happen to us - we don't always assume the role from its consequences. There is something powerful about willingly going through change. It finalizes a responsibility for who we are once we have gone through it. Many of us create these self -induced metamorphoses... and I think for most of us this is inevitable - be it through conscious and diligent planning, or combustion and sabotage.

I have lived in Sonoma County for a almost a decade - and Santa Rosa for most of that time; This city and the community I have here have been incredible for fostering growth, success, and a good life. I know already that this place and the people will never be far from my attention and affection. San Francisco seemed a million miles away not long ago... and it certainly never seemed a place for me to live. I have always been one to play it safe - in location, action, and relationship. But suddenly - I'm in love with a new place, the hope to more fully realize some of my personal goals, and the opportunity to grow past my constraints and current ideals. Honestly, this past year is the first year that I have thrown myself so much into the unknown... its leaps worth their risk. I am doing my best to use both my heart and my head with this move - as not to destroy all of my identity, and certainly not my relationships. I'm sure to get some more songs out of the impending adventures - and I look forward to sharing them.