Kindness and Lies

Sara Bareilles - Kaleidoscope Heart

2010-09-10T10:28:00.000-07:00

I have angels that hand me music before I know that I need to hear it.

A few nights ago, Betsy (one of my generous music angels) popped the new Sara Bareilles record in my CD player. She gave me her standard adorable disclaimer, "You might hate it...".

From first note, I knew I wasn't going to "hate" it... and by the first full run... I was sure I liked it. Turns out, I'm absolutely in love with it.

A bit on Sara for the less familiar - she's a northern California native who has been active as singer-songwriter since early 2000's. Her launch into mainstream notability came from her 2007 album "Little Voice" - sprung from the single "Love Song".

Quick to judge as I am, I had my initial apprehensions about her (Me? Apprehensive?! Big shocker!). Not her voice or musicianship, not the production - just the emotional depth (or lack thereof) from first listen. "Love Song" made my head nod, but only skimmed my surface.

Sometimes all I need is a simple pop to be satisfied, but the first time I hear a pretty voice and a catchy song on the radio, I can't help but wonder if there's more to the picture. I've felt that way frequently and have been disappointed on several occasions by one-trick ponies or made-up pop stars. Other times that I've invested further in an artist than just that song or initial listen - and I've been impressed by the depth and range. This latter type of realization happened for me with Ingrid Michaelson, and certainly Sara B ("Little Voice" is a moving, well-rounded and respectable record).

Sara is a stealth bomber of a songwriter. She grabs listeners with more basic intellectual or auditory desires with her pop sensibility - but she delivers an incredible blow of musical and inflective sophistication to those who seek further gratification. I love pop by itself. I love when pop has more going on underneath it. Go Sara!

Okay, now I'm ready to reflect on her latest, "Kaleidoscope Heart":

Sara covers a range of subjects and styles under one roof on this record, and she does so seamlessly. She is boisterous and vintage with several tracks - they have a major-key doo-wop feel. What I like is that she deepens them with darker lyrics and subjects when she takes this upbeat approach; it's a fantastic contrast. She has several homey ballads with sweet laments and nostalgia-inducing dynamics. Throughout - Sara places foundational songs that demonstrate her trademark style - stompy, confident and soulful ear candy.

The music is dead-on... it moves the songs along with certainty, it is dynamically appropriate, and blends the unusual and modern (synth sounds, drum programming), with well-executed classic tones and instrumentation.

She always has a solid chorus to seal her deals. A major bonus - the woman has several bridges that compelled me unexpectedly - transforming a standard song structure into a delightful gut punch. I love to be surprised and knocked off my high horse of prediction and judgement.

Sara is fearless with vocal inflection and range, exemplary with harmony and background vocal placement. She is generally safe with lyrical content. Occasionally, she'll place an ironic or abstract line in her songs, but she is always comprehendible and relatable. Had I something to say about how I'd get more out of this record, it would be that she's so sensible with her songwriting, she could get away with being a bit more edgy lyrically. Sometimes she pulls a predictable word or line that borders on seeming lazy to me. Don't get me wrong, however - this is a woman who knows herself well, and knows better than most about how to create badass music.

Personally, I have often cringed when people compare me to other women musicians, because it sometimes feels as though the comparison is only founded on the fact that they are also women. Now here I am, about to say something that could easily be construed as the same generalization:

I hear a lot of well-known women artists shining through as influences on this record. Perhaps not influences to her in particular, but definitely hitting my ear as musical relatives. The first one that stood out to me was Ingrid Michaelson. They have very similar vocal and melodic stylings. (I also heard that the two are friends... which makes sense, at least in my musical mind).

I also hear Joni Mitchell on a few rootsy points. Fiona Apple and Alicia Keys come out in her soulful and sassy piano-prominence. Sarah McLachlan when she is vocally soaring and cutting through with meaning.

There I said it. She sounds like a lot of other women artists.... but now... my justification on why there's more to my insight than just generalization:

Sara B sounds like the best qualities of several other successful women artists, while her originality remains intact. Her recollection of other artists doesn't cheapen her sound or those artists - it honors them, and it makes her all the more brilliant. A musical Wonder Woman hybrid.

The record is impressively delectable all the way through. The first and last songs send me on my way in and out... and everything in between is meaningful; though I certainly have my favorites:

"Hold My Heart", "King of Anything", "Let the Rain" and "Breathe Again".

I'd give "Kaleidoscope Heart" 9.5 out 10 (lacking .5 because of those tiny lyrical weaknesses). She would have me sold all the way live, I know it. Acquire this record. And hug your local neighborhood Betsy Adams. (If you don't have one, find a photo of her online and kiss the screen. No one will think you're a creepshow, I promise).

Saturday the 14th - About the Lyrics

2010-08-18T13:00:00.000-07:00

I hope this post finds my gentle readers well. I've been living in SF for a bit over a month now, and I am settling in to my wonderful new routine. I'm filling my life and heart with new experiences and enjoying an abundance of music. I look forward to get back into the swing of telling you all more about what's happening in the thriving SF music scene.

For now - I'd like to finish up the lyrical content of our EP:

SATURDAY THE 14th:

Pulled from my sleep

with the sands of my life's hourglass in my sheets

About a quarter of a century in -

what has been reached?

It's been long enough to fight with my vices - quit -

and then fall in love with them again

back to the same old never-changing - ever-changing world

Location, Location - am I on top or is it crushing down?

who's holding who up?

*Do I - will I - walk my talk?

All the necessary stops - The crucial pause.

We die some - then we move on

Our times they come -

metaphorical, spiritual, actual, physical -

all of it and none of it at all.

And...she's back with the coming of age lamenting! But really - doesn't the bed seem a little smaller as you sleep with what you've collected over the years? Trials, tribulations. Little particles of life, exfoliating tender skin - we struggle to tuck ourselves in the way we used to be - or the way we wished to be. Maybe the way it was in the movies. Sweet kisses to the forehead. Soft lips drying over time - hardened and heavy - sweet bricks of reality to the forehead. What?! (Okaay... this is getting dramatic. I just need to spend some time writing for fun, I think. I'll spare my tangents as much as possible...)

Sudden awareness brings the potential for action. Harsh as it can be to realize we are in bed with some grating elements - what if we didn't take notice- what if miss the things that I really better for us, holding on to things that aren't?

There is not a lot of words in the song - but each line is a container for further substance, and it covers a broad spectrum of human reflection:

The verses address a dance with ego. Sometimes we set up boundaries, only to break them after a stint of struggle. Vices - substances, habits, relationships - our all-consuming consumptions. We deem them bad the moment we lose control of ourselves. At my most empathetic and objective, however, I see some good reasons for our indulgences; I consider the deprivation of our basic needs and instincts to fit in better to our social roles. Our egos - the conflict of what has us hoping to fit in, and yet hoping to be significant - the very nature of that has us spinning - breaking apart, and then trying to tie it back together. I also touch on the dynamic of privilege and responsibility.

In the chorus - I ponder diligence in action and also the wisdom of patience and remembering to temper impulsiveness.

The last part of this song deals with aspects of death and rebirth - and makes a connection between tangible and intangible: The mind, the body, the spirit. Ideas vs. the things we can confirm with the senses. Though it gets easy to think of these elements as incompatible, people are the beautiful reason these things can coexist.

xo.

-Ash

Member Highlight - About the Ash

2010-07-15T12:38:00.000-07:00

My friend Karla asked me when I would post my next blog - so I assigned her to determine the context of my own member highlight. I've had a format for the other members, but I thought this would be more interesting... it's always fun to learn about what others want to know. (I encourage any of you to email us with questions you have about specific members... it'd be fun.) Some of these questions are pretty intense - I'll do my best to give honest and concise answers. Thanks, Karla. :)

1) What is your worst moment/experience? Big question. I had to really think here. I was at work once (at a cafe), and a friend I hadn't seen in a long time walked in. I almost took a quick break to come around and give him a hug - but decided I was too busy and I'd catch him next time. He ended up leaving the cafe that day and got in accident and was killed. Obviously, not my fault. But I should have taken just a minute to acknowledge him. I had another couple of moments like that around the same time with other people. Ugh. I lost 16 friends/family members in about a year period... weird time.

2) What is your best moment/experience? I have had a lot! Almost always when I'm playing music - especially with other people that are into it also. Seeing people that I love do well/get recognition. And... romantic that I am... I've had some incredible first kisses...

3) What is your favorite movie and why? I'd have to say Punch Drunk Love is one of my favorite movies. It captures human vulnerability, charming impulsiveness, the need for love, expression, and understanding - all in this sweet, abstract story. I love it more every time I watch it. I do have a lot of other favorites too.

4) What do you eat for breakfast? Usually, a smoothie - banana, strawberry, mango, pineapple - orange and cranberry juice - and protein powder. Once a week I like a greasy-ass big breakfast. Always have to have coffee in the morning!

5) How do you rate Karla on a scale of five where five is the highest? Haha. Well...just for having this question in there...I'd give her a 6.

6) What will you do if you had a time machine? I'd travel all over to the most thriving times for cultures all over the world. Sometimes I'd travel back just to find where I left my damn car keys...

And, when I'd finally had enough of this life, I'd like to travel to the middle of what is now the US - maybe late 1700's... and live with a Lakota tribe... and there I'd stay. (I'm totally weird. I am aware of this.) My reasoning for my eventual escape- not to sound like a hippie - but I like the idea of slow and sustainable, social role valorization, connectivity to environment, and a holistic existence. It's possible to achieve this in the present somewhat, but I'd rather it be less of an option.

7) What is your worst habit/quality? Procrastination. Trying to do many things at once. Distractibility.

8) What is your best habit/quality? I'm intuitive about others and their needs. I can turn my feelings to words well. I'm adaptable.

9) Which super power would you like to have and why? The ability to fly. I'd go see my family, friends, and the world. Plus, I'd beat the afternoon commute. And I could save people from burning buildings and stuff.

Next time around, I'll answer the standard questions that I posed to my other band mates. On another note - I've made the move to SF - I'm loving it so far! I'm sure there will be some songs and reflections on the way about my experiences there.

Oh, and one last thing - thank you to everyone who's been reading this and showing interest in this band, the music, and my rants. It's an honor to document.

xo -

Ash

Hanalei - "One Big Night"

2010-06-29T11:44:00.000-07:00

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.

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

2010-06-08T16:20:00.000-07:00

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).

ROSA - about the lyrics

2010-06-02T12:54:00.000-07:00

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.

Member Highlight - About the Betsy

2010-05-26T15:28:00.000-07:00

There would be no Kindness and Lies without Betsy Adams. And with no Kindness and Lies, there would be no need for this particular blog. Luckily, there is a Betsy Adams, a Kindness and Lies, and thus, a blog for me to ramble upon. It's time to share a bit more about the elusive character known as, well...Betsy Adams:

I met Betsy (through my dear friend Tracy) in 2006. She heard my last band No More Stereo and liked it enough to express interest in playing guitar for the next chapter in musical adventures - the short-lived Djuna (2007). Three things I knew immediately about this girl: she knew her way around a guitar, she was business-minded and brilliant, and she was very much her own powerful entity. Three things I learned soon thereafter: she knew how to make my songs come to life, how to add substance to my flightiness, and that I had found someone who I was connected to very deeply - with and without words. (It was a no-brainer to seek her out as a partner in crime for this latest project).

It is not an exaggeration when I say that there would be no Kindness and Lies without her. Betsy steers the business of this band. She is organized, articulate and efficient. She is truly an artist of a musician as well - tasteful, broad, and with fantastic chops and melodic sensibilities; her guitar work allows for cohesion (no matter how random I get with my initial approach). She constantly is thinking and working to make this band better. She has been a genuine and generous facilitator for my growth and success as a musician and a person.
...And come on - charming, mysterious, hilarious, gorgeous, and capable of singing third harmony? How can any of us resist, really?! I love, respect, and appreciate her fiercely.

Full name: Elizabeth Carswell Adams (AKA Dr. Calvin Boss, and many variations thereof)

Astro sign: Scorpio

Past notable music projects: A couple of college rock bands, then a few singer-songwriters and other random projects. Djuna.

Hometown: She was born in Atlanta, went to high school in Berkeley, so she calls that her hometown.

How long she has been playing guitar: Since she was 14.

How she got into playing: Her dad came home from work one day with an electric guitar. It sat there for a while before she picked it up. She then spent a lot of her high school years locked up in her room trying to play that thing.

Major musical influences: Betsy chooses to keep most of her influences to herself... but Jennifer Turner is her all-time favorite lead guitarist - who just happens to be female as well. (Turner toured with Natalie Merchant for awhile and then sort of disappeared. Betsy recommends you listen to "Wonder" off of Natalie Merchant's first solo album... you'll hear what she's talking about. She could play that lead guitar part in her sleep).

What she is listening to lately: William Fitzsimmons, Lucinda Williams, Ingrid Michelson, mix cds from Ash Scheiding (heaven help her with that). John Mayer (yep.) Patty Griffin. But Betsy listens mostly to local bands...she is an avid supporter of local music.

What she wanted to be when she grew up: A button pusher that works in a button factory...or a veterinarian.

Hobbies: She likes it all. If there is liquor involved.

How Betsy would describe herself and her bandmates each in three words:

Brian: "Doesn't speak English"

Ash: "One and only"

Niki: "Get it girl"

Robert: "Eyelashes, dimples, amusing"

Betsy: "I don't know"

Goodriddler - "Tickling the Tail of the Tiger"

2010-05-16T21:13:00.000-07:00

(photo by Philip Alexander)

I have this friend named Nick. This same friend also happens to be my coworker. He happens to be a fantastic musician, and writes and performs as the one-man-band Goodriddler. Nick - (programmer/drummer/pianist/vocalist) had been working on the release of a record. He needed to go on tour in celebration and support of his efforts. That meant he had to ask me - his supervisor - for a few weeks off. (I said yes. I'm not a mean boss.) When he came back from his adventures, he gave me the fruits of his labor: "Tickling the Tail of the Tiger". Listening to this gem of a record - and as a witness of his fulfilling live performances - I know he's going to need a lot more time off.

The sum of my initial experience of this record (journal excerpt):
Instantly I was sucked into an alternate world. As I began to grasp my surroundings - I realized I was precariously placed at the ledge of a building. In front of me - a thick and enticing fog - and I found myself leaping without thought to consequence. On my way down, I was punching through layers and layers of surface. It didn't hurt - but there was surprise at each burst - enough to knock the wind out of me. I could see my inner self - the thrill of my descent filing me with nervous laughter. With clenched face - I was refreshed. I surrendered to the sarcasm and wit of my sonic circumstance. It had me.

A collaboration of organic instruments, voice, and calculated and precise digital elements - this record is an exotic film. It embraces and speaks to various aspects of humanness - flesh and shadows. The mechanical, tantalizing innerworkings. Ticks as precisely as clocks - then changes its mind. It is a science film - organisms bumping into each other in apparent chaos - all along, aligning with a greater scheme.

I found myself intrigued. Afraid. Disturbed. In love. Mad props to the mad scientist - Goodriddler - for facilitating such romance. The record/theatrical event takes itself seriously enough that I invest in its characters. The songs are are a collective - and though strong on their own - together they are a process. A progression - the record moves on from itself, but never abandons its foundation of sure rhythm and reoccurring tonal and melodic themes.

"Tickling the Tail of the Tiger" puts sound to the wandering mind and heart.

Get ahold of this record. See this man live.

Snapshots - The girls play Yoshi's SF unplugged

2010-04-29T14:00:00.000-07:00

Life progresses. Words have eluded me lately. Amazing things continue to happen. Niki, Betsy, and I had the pleasure of playing Yoshi's in SF last Sunday for a Sonic Zen and Bay Vibes presents: Songwriter's Unplugged event. We shared two rounds with Valerie Orth and Abigal Picache (Valerie Orth Band), and Lindy LaFontaine (with trumpet player Kevin Alvarez) which was an honor.

The show was mellow, classy, and an absolute blast. It was amazing to see many good people there. One of those people in attendance was our new friend Niall David - he's got mad skills as a photographer (and all-around awesome guy) - and he generously captured the night.

Here are a couple of photos from that. If you want to see more, click here.

Niall has a great eye, great rates and is great to be around. I certainly recommend you hit him up to document your moments. Thanks Niall!!! And thanks to everyone who made the show happen, and all who came to share in the fun.

K & L member highlight - about the Niki

2010-04-02T20:07:00.000-07:00

It's time for me to tell you all a bit about the other voice of this band - my dear Niki Marie. I have known her for nine years - met her just before I started college. I'll spare details about our thick history, but know this - we have been through so many things together and I'm thankful to say I'd consider our relationship an impermeable one. Our musical connection has definitely helped keep us close. Since we met in 2001, we have been singing together. She has been my partner in crime through many acoustic ventures and three bands; Bad Kissers, Djuna, and now Kindness and Lies.

Niki is a dynamic lady; strong, humble, hilarious, and of course, beautiful. It doesn't shock me one bit that many jaws have dropped and hearts have leaped in her direction. (Ha! It's true.) My favorite part about Niki - she is the best parts woman and child. Her voice and presence exemplify that - she's angelic purity rising from a smoky siren. She works hard, nurtures those she loves, and exudes genuine compassion for all living creatures. She has a lot of flippin love in that flippin heart of hers. And - well, let's face it - she does her best to keep me out of trouble. And - she makes me chocolate chip pancakes every Sunday before band practice...without which, I might not be as functional. Yes, she completes me as a friend and bandmate.

Full Name: Niki Marie (Well, that's all she'll give me to share. I usually call her Nini.)

Astro sign: Cancer

Past notable music projects: Bad Kissers.

Hometown: Born in Riverside, CA. Grew up in Rohnert Park, CA.

How long she's has been playing music: She's been playing her voice since she could talk....But she's really been singing since she was about 13.

How she got into music: She began singing because of her dad. He has been in bands her entire life, and he used to bring her to the studio with him when he recorded.

Major musical influences: Ash (who me?!) has been a major musical influence of hers. "[Ash] re-introduced music to me at a time that I had resolved to let it go perhaps forever, and she helped me remember that music was the thing I love doing the most in this world!" (Gosh, golly gee, Nik - thanks!) annnnnddddd...other more random chick singers who she's going to "shamefully NOT list here! Ha. I pulled a lot of different things, from many different artists, in all genres!"

What she's listening to lately: Grizzly Bear, Phoenix, Fleetwood Mac, Beyonce, MGMT, Loquat, Massive Attack, Azure Ray, Patty Griffin...

What she wanted to be when she grew up: The only things she remembers wanting to be when she was little was a teacher, and a mom. "YIKES. I always secretly wanted to be a singer, but I have always been so damn shy."

Favorite hobbies: Singing/Playing music, Swimming, Playing Scrabble, Watching movies, Going for walks in beautiful places.

How Niki would describe herself and her bandmates each in three words:

Brian: "Gifted, Friendly, Entertaining"

Ash: "Prodigy, Beautiful, Inspiring"

Betsy: "Genuine, Whale Sounds, Sincere"

Robert: "Warm, Kind, Dreamboat"

Niki: "Approachable, Loyal, Classy"

Favorite quote: "It is never too late to be who you might have been." -George Eliot

Three is a charm.

2010-04-01T12:06:00.000-07:00

Whew! Fearless readers - it has been a whirlwind of action these past couple of weeks. Kindness and Lies had a fantastic time joining Ziva and her band and Aaron Durr and his band at Pier 23 on the 18th of March...and we have enjoyed a few practices...gearing up for our spring shows.

Since my last post, I have been busy running around. Work, music, and quite a bit of playing. I was fortunate enough last week to have a friend in town from Seattle - gave me the excuse to take a bit of time off work and frolic about Sonoma County and SF... Amidst all that action, I was blessed to attend three awesome shows in one weekend. I'll spare you the amusing/touristy/drunk/personal details of my friend's visit and share with you a bit about the shows I saw:

Wednesday, 3/24 - Metric @ the Fox Theater, Oakland:
My dear friend Becah brought me to this show. We both had obligations earlier that night and missed the opening acts. (Niko Vega being one). I had done a review of Metric's album and was certainly curious to see them live. It felt like one of those make-or-breaks for my opinion of the band in general. I love half of the Fantasies album a lot, and respect it as a whole. But - my apprehensiveness rises again - was that record just doctored and well-produced? Could they pull it off live? Well, the fans certainly believed in them to do so - the place was packed.

You know what? They killed it. Absolutely brought it. Emily Haines is an incredible front-person. She holds the crowd with unpretentious and genuine energy. She dances her ass off, sings her heart out. They even had me into songs I didn't care for on the record. What I liked about the adaptation live - was that they kept the music a lot more rock-based. A bit more aggressive, but still keeping the digestibility there. The band and the audience were in fantastic spirits and I was right there with them.

The Fox Theater is one of the most beautiful venues I've ever been to. There's not a bad stage view in the whole place. The space is classy and warm and feels really good to be in. The lighting is impressive. The sound system for me has been all over the place - depending on the show - often feeling a bit too bass-heavy and intangible. The Metric show was some of the more decent sound I've heard there, so I was pleased.

Friday, 3/26 - John Mayer @HP Pavillion, San Jose:
My partner-in-crime Betsy invited me to this show. I just recently got interested in John Mayer - I was apprehensive due to his media reputation and obnoxious popularity. Though, it helps to experience things with someone who already is appreciative/passionate about them - and Betsy has been into Mayer since his humble beginnings. She recently introduced me to his new record, Battle Studies, and it is a very well-done record. When she invited me to the show, I new it was going to be worth braving the gigantic crowd.

HP Pavillion - distracting for me. So big. Tight seating. Lots of people. But... the moment John and his band were up there, I forgot about sharing them with so many people. He is certainly talented enough to deserve every ounce of his musical respect. That man knows himself well - his songs are flawlessly written, and his guitar and voice seem a direct extension of his soul. He's got a tight band. His drummer, Steve Jordan, provided us with one of the most impressive drum solos I've experienced. (I usually feel like they are super cheesy.)

The sound was good...the lighting was impressive. The music he played seemed a little safer than I'm sure he's capable of presenting in a set - but I was certainly entertained and engaged for the two hours he was up there.

Saturday, 3/27 - Copeland @ Slims, San Francisco:
Ahhh. So bittersweet. Copeland - a longtime favorite and certainly an influential band for me - playing a farewell tour. Last chance to see em. Blarrgh. Again, generous and badass-moment-making-specialist Becah treated me to the show. (We were in good company as well - our Seattle friend Stephanie, my lovely bandmates Niki and Betsy, and our friend Greg joined in the magic.)

Copeland brought some decent guest bands with them - I was able to catch the energetic Person L and the sweet I Can Make a Mess Like Nobody's Business. Both good fits to accompany - even with differing sounds - each represented elements that I appreciate about Copeland.

After a night of drinks and anticipation, ours truly took the stage. The audience ignited as they began to play, and embraced the band with genuine enthusiasm. This is a group that its fans have really invested in and it was obvious by their presence that night. If you haven't heard Copeland's album In Motion, you should. It's in my top ten of all time. I love hearing those songs live, but the energy seemed to be heavier and more apprehensive than the glassy and potent recorded versions. I saw them last year and was not feeling that difference as much. It felt like they wanted to be there a bit more then.
I'm certainly not saying that Copeland was bad this time - the songs and the musicianship make that almost impossible. But they felt a bit lackluster. Maybe roadworn? Sick of being in that band? Hard to say.

Slims did well this time to have good sound and a positive crowd. I've been there a few times when I didn't feel that great being there. But I was having a fun time, a good view, and the drinks were cheap.

I hope there is something musical in the future of the members of Copeland. And if there is, and I see it, I hope they want to be there and that it translates.

Overall, I couldn't have had a richer, more incredible weekend. I was totally inspired and impressed by all the music I took in. It was also reitterated to me that I have generous and amazing friends that help facilitate this blessed life I'm living. :)

xo.
-Ash

K & L member highlight - about the Robert

2010-03-18T09:44:00.000-07:00

I am pleased to share with you all a little bit about our bassist Robert. I have had the pleasure of knowing him since the 4th grade. It was high school when we became good friends and formed our first serious rock group together - Sometimes Y. I am super glad that we have stayed in touch over the years - and when the concept for Kindness and Lies began, there wasn't a question in my mind who I wanted to hold down the low end.

Robert has been one of the most consistent people I have ever known. He has remained unpretentious, reliable, and full of humor. He stays very true to himself, and has always been dedicated to his passions. Robert is a badass combination of character - talented and well-rounded, just as cool as he is able to dork-out, and just as able to keep it together as he is to let loose and have a good time. Robert is solid and wise in his musicianship and professional commitment. And, well, if that didn't make him sound like the catch that he is, one look at his mile-long eyelashes and adorable dimples should seal the deal. ;)

Full Name: Robert Thomas Atkinson (AKA Rob, Berto, Robo, Actionson...and I'm sure he's been called a few other things!)

Astro sign: Sagittarius

Hometown: Pt. Reyes, CA

How long he's been playing music: 18 years

How he got into music: His dad is an incredible guitarist/fiddler/awesome music guy. He first got Robert interested in playing. And when his older brother started playing guitar, he found it only natural to start playing bass.

Major musical influences: The Beatles, Michael Jackson, Faith No More, Metallica, Jaco Pastorius, , Charlie Parker, Pearl Jam, REM, Camper van Beethoven, Sublime, Primus

What he's been listening to lately: Arctic Monkeys, Muse, Coheed and Cambria, Blonde Redhead, Gorillaz, Eels, Incubus, Modest Mouse, At the Drive-In/Mars Volta, Pinback, The Raconteurs

What he wanted to be when he grew up: Robert wanted to be a paleontologist until he realized how boring it would be!

Hobbies: playing music, drawing (when he has time), eating, sleeping, pub trivia, crossword puzzles, beach volleyball, reading

How Robert would describe himself and his bandmates each in three words:

Brian: "that one guy"

Ash: "force of nature"

Niki: "the face herself"

Betsy: "enigmatic boss man"

Robert: "uhhh, also that one guy? haha. the coolest guy in the world."

A word of wisdom/personal philosophy: "We are each masters of our own destiny."

Favorite quote: "Look, I've never had a dream in my life cuz a dream is what you wanted to do but still haven't pursued. I knew what I wanted and did it til it was done, so I've been the dream that I wanted to be since day one." --Aesop Rock "No Regrets"

GRAVITY - about the lyrics

2010-03-12T10:52:00.000-08:00

More lyrical insight for ya'll today. I'm continuing on with songs from the "Look Up Now" EP. "Gravity" was written a little over two years ago - when Niki, Betsy, and I were in the short-lived project, Djuna. This ballad had a certain strength, and it seemed a shame to let it go away when Djuna ended; We were happy to have it follow us into our next effort.

GRAVITY

this life just isn't feeling like the reality

that has told me year in, year out

Ingrid Michaelson - Everybody

2010-03-10T14:09:00.000-08:00

I was kissed awake by a perfect cup of coffee this morning. The cream and sugar balanced with the brew like a flawless three-part harmony. This beverage - exquisitely itself. I'm not here just to talk about that, however. There's a point to this. Her name is Ingrid Michaelson...and her new album, Everybody, is the sonic equivalent to my caffeinated bliss - exquisitely itself.

I'm going to spare a formal bio... you can look her up for that. I will give you a few basics about Ingrid - she has been studying music (and theater) since she was a kid. She's from New York. She is undoubtedly hardworking, talented and experienced. I heard her single "Be OK" (from a previous release) quite awhile ago - and honestly - it was so jingly I hardly gave it a second thought. I like me some jingly, people - but I need substance too. Let me eat that hat, though. This woman is a stealth bomber of substance - cloaked in well-considered disguise.

I'd like to start with my impression of her as an artist. First and foremost, Ingrid Michaelson is a master of her voice. I don't think there isn't a high or low, soft or gruff tone that she wouldn't nail with precision. The coolest part about it? She isn't a showoff. Each tonal choice she makes emphasizes her lyrical points and is loyal to the energy of the song. Generally, she has a genuine and tender approach; rich, comforting and certainly inviting. Listening to her is as if you're the only one she's singing to. But just as soon as you think the two of you are starting to mean something - hands and eyes locked in certain embrace - her voice breaks away or bellows to a depth that sobers you into a puddle of uncertainty.

These feelings that she invokes in the listener (presuming I'm not the only one she's actually singing to) are absolutely perfect for the subject matter she covers with this album. Every song seems to be an articulate (yet personal) process of longing, effort, and disillusionment. These matters of course - all directly related to love. Each song - Relationship. Connect and disconnect. She sums these bewildering experiences into a concise package of available and charming songs. The lyrics are mostly tangible, yes - but she does save for the occasional slice of tasteful ornament.

Ingrid (leading with guitar, keys, or ukulele) is wise with her instrumentation and approach. Some parts are simple and minimally accompanied - minimizing distraction for her vulnerable lyrical laments. When instruments chime in - they sweep one off the floor with meandering strings, vocal harmonies and rounds, confident rhythm, and theatrical enthusiasm. This record would easily translate to a musical - not in an overly-boisterous sense - but when it has your full attention, you're on a ride - rising, falling, and swaying with its intent. And bet your ass - your foot is tapping and you are way more emotionally affected than you'd prefer to be listening to a pop record. (Ingrid - you talented bitch, you.) Ahem.
I should note as well - the production is as intimate and revealing as it is clean and polished. The raw talent is absolutely apparent.

So, yeah -
I don't have any real complaints about this record. There are only a couple tracks that I prefer less than others... (The title track, "Everybody" has that syrupy quality that her "Be OK" song had. I like it sometimes, but if I'm not in the mood for pure sugar, I'll move on quickly.)...but there isn't a weak song in the bunch. Yes, I'm serious. Though I will warn the fan of harder or darker music - be prepared to get sweet. If you invest in diving into the cotton candy, you will be absorbed into deeper, very effective layers. (Don't get me wrong either- Ingrid's playful approach should not discount her maturity and ability to punch the gut or get incredibly sexy.)
My advice: Get disarmed and you might just like how temperate and exposed you can feel while listening to something so accessible.

My favorite tracks: "Soldier", "Sort Of", "Incredible Love", "Mountain and the Sea" and "Once Was Love".

Overall rating: 9.5 out of 10 stars. (She loses half a star - just cause I got a toothache and am totally jealous at the thought of not being the only one she's singing to...).
Betsy Adams, thanks for sharing this one with me. You win the see-i-told-you-chick-folk-rock-can-be-done-right-so-ha award this time.

Hope you give it a spin, ya'll. I'm curious if I'll be questioned or contested with this one.

xo.
-Ash

Whitney Nichole and Ziva

2010-03-05T09:10:00.000-08:00

I moseyed on down to the quaint Grant and Green Saloon in SF this past Tuesday night (March 2nd) to catch songwriters Whitney Nichole and Ziva. I met these ladies through the recently formed San Francisco Songwriter's Circle... and was instantaneously impressed with their positivity, drive for music and professionalism, and their efforts to be so open and supportive of their local music community. (I am tremendously taken by a good attitude, and it makes me that much more inclined to go out of my way to reciprocate support.)

These ladies have differing sounds - but there are some commonalities that made them a decent fit for a bill; They are both competent songwriters, confident performers - and they know their own voices and strengths, and their way around a piano.

Whitney embodies the sound that she creates. Sweet, approachable, and genuine. Her lyrics and progressions are direct and accessible. She executes a wholesome sound - but certainly not timid. Whitney uses safety of structure to her advantage - her narrative vocal approach soars as often as it speaks, and its flawless tone sugars the songs. I repeatedly recalled (the incredible) Patty Griffin as she sang. That's as much an unflinching observation as it is a compliment.

The majority of her set, she was joined by her sister Shelby on backing vocals. LET ME TELL YOU PEOPLE - IF YOU HAVE A CLOSE RELATIVE THAT SINGS - HAVE THEM SING WITH YOU! There is nothing like genetics to facilitate incredible complimentary tones and harmony. Shelby backed with grace (staying frequently in a higher register) and a tasteful amount of support.

To further emphasize my newfound enthusiasm for collaboration and community, Whitney had Ziva join her on percussion for several songs. Ziva's band mates Be'eri Moalem (viola) and Julia Jukiwicz (cello) also popped up to join her. Whitney's songs are so accessible, they are perfect for accompaniment.

My positive sum of Whitney:

1) The simple pop song prevails yet again.

2) Staying true to strengths instead of overplaying works - especially when the voice is the intended focus.

3) Memorable melodies, relatable lyrics.

My gentle criticisms:

1) With such basic structures, I was left a bit hungry for more compelling lyrics and themes.

2) I felt really moved when she dug a little deeper with progressions and dynamics - I'd love to see her brave that a bit more.

I feel it necessary to appreciate a few things about Ziva Hadar and the impression she has made on me. I am incredibly charmed by the dichotomy of her (bantam) physical stature and her (commanding) personality. She exudes strength and presence and is quite the charismatic business woman. (Personally - She's already spoon-fed me incredible resources and opportunities, called me on my shit, and has lit several fires under my ass. Not bad for someone I've met only a handful of times!)

Anyway, back to the show...Ziva and her band (collectively known as Ziva) concluded the evening. They have an eclectic style - jazzy, bluesy, rock. Occasional exotic rhythms. The group is a six piece (besides violaist Be'eri and cellist Julia, Ziva is comprised of bassist/vocalist Kipp Glass, guitarist/backup vocalist Jonny Jimmerson, and drummer Miles Escobedpo) - they have all done well to temper dynamics and play for the songs.

Ziva Hadar is incredibly powerful to observe. She provokes her piano and propels her songs with admirable composure and intention. Her voice is dimensional and sure from its deepest brooding lows to fierce highs. Another of her smarts - the band behind her serves as an army of confidence and cause her progressions to explode. Besides having a capable standard instrumental accompaniment - let's face it - talented stringed players are an incredible investment and a sonic treasure to have in company - especially live.

One of my favorite things while experiencing Ziva perform was observing the chemistry and between Ziva and Kipp Glass. They truly seem connected, and they worked together as the driving element of the music. Kipp has quite the set of pipes himself - and he certainly helped pronounce Ziva's vocal inflections. Three part harmonies appeared on occasion...which, when done as well as they did, is a decadent addition.

The band's genre identity is hard for me to define - sort of theatrical and loungey... dramatic always... but not unreasonably so. They definitely have rock moments as well. Each song felt cohesive, which is the most important part. I appreciated Ziva incorporating a healthy dose of instrumental focus, some solo piano/vocal moments, the treat of her singing in Hebrew (she's an Israel native), and the novelty of a cover from the musical Rent (pulled off somewhat straight-faced. Awesome!).

My positive sum of Ziva:

1) Ziva Hadar knows herself and she works it.

2) Fearless genre bridging. Hard to pull off.

3) Compatible and professional musicianship.

My gentle criticisms:

1) I felt a little alienated emotionally at times when the band would get really dynamic - I would have benefited from a bit more banter between songs or stories to set help me join in the ride (what can I say, I need a little foreplay). Perhaps some vamps or buildups into big changes.

2) My disclaimer: some of this was the venue's humble sound system and lack of monitors - but I could have used a little help understanding the words. (Annunciation can be a bitch. I struggle with this live myself.) Again, I could have been helped by some subject introductions before songs.

Overall, I found the night to be worth my trek to SF... the music was satisfying, the musicians inspiring, the Guinness abundant, and the company amongst my favorite (my K & L partner in crime Betsy Adams was there). It was also nice to partake in the show without a cover charge.

These women are badasses. I will continue to invest in their success and revel in their insights.

Come see for yourself:

*Whitney will play the Beal St. Bar in SF on March 27th.

*Ziva will play at Pier 23 in SF on May 18th. (Joined by Aaron Durr, and yours truly - Kindness and Lies!)

Check their websites for more info (linked in my first paragraph).

xo.

-Ash

THE CLOCK WATCHES ME - about the lyrics

2010-03-01T14:14:00.000-08:00

Today I will address another song that was featured on the Kindness and Lies EP. "The Clock Watches Me" was actually written several years ago and early renditions were executed with mine and Niki's previous project, Bad Kissers. I wrote this when I was about 21 years old I believe. It was easily translated into a newer version, and its subject matter (another coming-of-age lament) made it a shoe-in for the Kindness and Lies record.

THE CLOCK WATCHES ME

So here we are - stuck in this place

This time, this space, with no way to escape

We're at that age, we thought we'd never reach

Submerged, and left with a choice to fight or sink.

I need some distraction, some hope to take action -

something just to make today alright

Yesterday means nothing, tomorrow is uncertain

and the magic that I trusted was just some man behind a curtain.

Where is my somewhere over the rainbow -

what happened to "when I grow up?"

Why do I stand around waiting for something?

When is my time supposed to come?

I wanna know why the clock watches me -

and why can't I cry on command?

I wanna know what the future might bring -

but I'm hung up on yesterday's demands.

Staring at you on the inside - but I can't even look you in the eye

Wonder what would happen if I kissed you right now -

could it postpone the day that I die?

Let this be my 20-something anthem. Launched into adulthood; clutching in one hand the enthusiasm for newfound freedoms - in the other hand, the weight of adult obligations and consequences. I reflect on varying degrees of responsibility and desires during this transition - escapism, motivation, coping and loss. (For myself, The Wizard of Oz was an influential movie as I grew up - and I use it for metaphor in this song).

Childlike reactions and perspectives suddenly seem a less effective way to deal with life. Mortality breathes a harsher breath on our necks.

It is as if we are made of clay that is being shaped half from ideals, half from the elements. Forming and solidifying in random places - we are somewhat cracking and brittle, partially soft and slipping over our own edges. Terrified and mesmerized - we face the first signs of age that have committed to us.

But not all doom and gloom! These explorations don't just lead to a harsh conclusion. There is a soft and young spirit held safe within our firming frames. The last lines of the song capture this with the most concentration - the curious, charming introversion. The longing of love and the strength it perpetuates.

xo.

-Ash

Metric - Fantasies

2010-02-17T12:47:00.000-08:00

photo courtesy of www.fakerich.com

I heard Metric for the first time last fall on the radio - it was their single "Help I'm Alive". The song grabbed me pretty instantly, but was so catchy, I questioned the integrity and authenticity of the project a bit - was this some glossy put-together outfit with trendy female vocalist?

Hilarious, right?! Here I am, lover of catchy pop songs... and a female vocalist myself... yet I find myself so apprehensive to appreciate the artistic value of female vocalists right off the bat.

I'm trying to get to the root of this. The 90's maybe?...

...I have this bias - a stereotype in my head of an attractive chick standing at the forefront of a band of dudes - flipping her hair and either cooing insignificantly or belting with little soul over top of the music. Meandering without much effect - more of a gnat swarming next your ear than anything. Ask me to name a specific group right now? Ugh. Let's see... Joydrop. Guano Apes. Hilary Duff? (Despite my lack of convincing evidence, I pray my point makes it across. There's at least two female-fronted local bands in every town with the same dilemma, am I right?)

Okay, Okay. Now I state my appeal: First off, I AM NOT DISSING ON EVERY FEMALE FRONT-PERSON. There are so many out there that I have major respect for. Secondly, I AM NOT PUTTING METRIC IN THE LAME FEMALE VOCALIST CATEGORY. However, I thought it necessary to state my tendencies, and my apprehensions upon first impression.

After further investment, I concluded that there are several reasons why new-wavers Metric will not be artistically dismissed. I'll get to that as soon as I give a quick overview of what I learned about them:

The project was originally formed by Emily Haines (vocals/synth) and James Shaw (guitar/vocals) in '98. The two met in Toronto. (They both are also members of the group Broken Social Scene. Emily has also collaborated with Stars, a favorite group of mine.) In 2001, the group supplemented their drum machine dependency with a rhythm section - longtime musical partners Josh Winstead (bass), and Joules Scott Key (drums).

Metric have four albums released to date, but their latest, Fantasies (released April 2009) seems to be the one that has solidified their notability and has made them a household name in the modern rock scene. Several tracks from Fantasies have been featured on screen (Grey's Anatomy, CSI, and the movie Zombieland to name a few).

The band execute sensible music. They cut right to the chase, introducing hooks as soon as they begin. No track overstays its welcome - not a single song on Fantasies reaches even five minutes. As efficient as they are, Metric keep their sound interesting with flawless production, unique changes, and a range of tonal elements - the music seems as at home with a standard rock instrumentation as it does with spacious synths and digital loops. They don't blow anything all at once - each arrangement is tasteful and tones and transitions aren't overdone.

Emily Haines has smoky, deep and round dimensions to her voice. She is capable and fluid with her highs and lows - (though not necessarily significantly energetic or dynamic with her execution). She tends to play it safe and stick to what works for her; clean and deliberate transitions, sing-songy melodies , though she is just as likely to sing in an almost talky, narrative way. The instrumentation and arrangements underneath certainly support her - creating the energy and more aggressive elements of the music. The great part - the band is very cohesive overall, and her lyrics and melodies are perfectly suited for each song, be it a straight up rock number or a more introspective reflective type of song.

Why Emily isn't one of those chick singers I love to hate: She has a ton of musical experience under her belt, a direct hand in the songwriting, and she works with her band mates to create a sound as opposed to laying her vocals carelessly atop of the music. She demonstrates true dedication to her craft.

I hear a strong (tasteful) 90's influence to this record - hints of the Breeders and Veruca Salt. It was easy for me to relate this to the newest Tegan and Sara as well. Straight ahead. Grungy guitars. Simple riffs motivating the song structures. I like this because - despite fancy production and effects - these songs would hold up as much broken down to basic instrumentation.

My complaints about the record - The second half is not as interesting as the first half. They play it a bit too safe, and Emily stays a bit too consistent with her style. It becomes difficult halfway in to be as into what is happening. This gets better as I listen repeatedly and skip around the record, but at first listen, I was ready to stop the CD after awhile.

My favorite tracks: "Help I'm Alive", "Satellite Mind", "Twilight Galaxy", "Gold Guns Girls", and "Gimme Sympathy". (60 percent of this record I found to be absolute hit songs... which I'd consider a fantastic achievement.)

Overall rating - 7.5 out of 10 stars. Props to my dearest friend Becah for introducing me to this album.

Metric are playing at the end of March at the (badass) Fox Theater in Oakland. I am very very tempted to go to that show - and feel it may increase my respect for them.

xo.

-Ash

Snipers!!!

2010-02-12T09:23:00.001-08:00

(photo by Derek Owen Doss)

It's been a week. I've been staying up way past my bed time every night and have been taking in all kinds of new life (which has been totally worth its consequences). Sleepy as I was, I joined a few friends for a bit at the Casbar in Rosa to support my friends in the dynamic instrumental band Snipers.

The current lineup consists of Andy Pohl (guitar), Terrance Fleming (drums), Derek King (guitar), and Ben Shackelford (bass). I've known these guys for years, and can readily recall many fantastic memories (and way too many fart jokes!).

I had the pleasure of previously collaborating with Terrance in Bad Kissers, and with both Andy and Terrance in Good City Lie Still and an early rendition of Snipers.

The men of Snipers are sweet natured and full of hilarity. My favorite part about them: their music is epic and dramatic - yet in character they are quite the opposite. They are all very dedicated to playing music... and demonstrate (on and off-stage) genuine egalitarian and team-minded attitudes. They smile when they play. It feels great to see that. And these guys are so generous with their support of other musicians, they have been staples of camaraderie in a struggling Sonoma County scene.

So enough about the winning personalities - how's the sound? This project has been in existence in various forms for about four years. It has been a fluctuated in member size and artistic direction in that time. The consistencies - sonically epic, with plenty of anthemic elements. Droney, effected guitars. Andy and Derek trade off on soaring leads, and spend just as much time interacting on differing parts as they do inflecting on the same idea. The rhythms are driving with occasional bursts of unconventional time signatures and breakdowns. Terrance is enthusiastic behind his kit, propelling changes with intent. Ben pronounces the foundations of the songs with simple but guttural emphasis. The structures are pretty open-ended, and they take their time to evolve. Despite the abstract aspects, the songs are cohesive and usually refer back to their origins.

In the latest version of the band, the song lengths have decreased significantly, and the hooks and changes are more clear and concise. I think this really strengthens their efforts. They are making stronger musical statements in less time, and with this they reduce risk of isolating the audience along the journey. My disclaimer for favoring the efficiency - I'm a pop song junky, with the attention span of a four-year-old. ;)

The set was tight, a smart length. It was honestly the tightest I've seen them over the years. I was compelled and left feeling satisfied and proud of them!

My conclusions:

1) Snipers rocked it. 2) Enthusiasm and upbeat demeanors are the new black for heavy rock music. 3) The Casbar is a smarmy venue that makes me wanna take a shower - but I appreciate that they are one of the few places encouraging a music scene in Sonoma County. 4) I love seeing some of the same faces at shows that I have for a decade. 5) I love the refreshing element of new music supporters as well (and age variation!) 6) Orange juice can be substituted for an orange slice in a Blue Moon beer, but it shouldn't be overdone or it hurts my tummy. 7) I'm getting old.

xo.

-Ash

LOOK UP NOW - about the lyrics

2010-02-11T10:17:00.000-08:00

Every once in awhile, I'm going to post some lyrics on here and ramble about them a bit. This time I'd like to share the title track to our debut EP - "Look Up Now". This song exemplifies the subjects I have focused on a lot on for this project: Coming of age and being aware of the lives we are living.

LOOK UP NOW
if we get to the time
when good posture would have mattered
heads forced to face
that overgrown knot in our stomachs

*and it's wearing us down
someday our walls will crumble and we'll fall out
when our will shatters, it will finally matter
no guts left to tuck back in, no crevices

ears sealed tight
all the sounds stale, lacking innocence
If we get to the time
when good posture would have mattered

this is a fear that will very well turn into truth
here's to youth
just remember, it's all time to use
someday that head will turn to a photograph
relying on validation from the greater past

*look up now
look up, look around
use your eyes and your ears
stifle that trivial mouth

don't let the sound of your own voice
be the only one that you've ever heard
when you speak, be content
they'd be satisfactory last words

As I've grown, I have become fascinated by the concepts/dichotomy/transition of "carefree" youth to "guarded" adult. I ponder the aspects of complacence that exist with each place in life, and how that complacence is related to the whole life-span. I also think a lot about the times when our age or place in life doesn't really reflect how we feel about ourselves or are perceived by others, and how this affects social roles.

The desire for safety, consistency, and peace can so often turn into extensive effort to not feel, speak up, or think. I believe that's when it can turn into potentially harmful complacency; harmful for its dishonesty, irresponsibility, and deadweight effects. It can take so much energy to maintain that stability; energy which could be used to respond to and interact with the precious life and possibilities we have.

I empathize with why people do this - why I do this. Life is big. It causes us to feel so much. Processing all of the events, information, and relationships we experience is overwhelming. When we are young, we are learning everything we need to survive. When we are older, we are trying to be confident that we know all we need to know to keep going. We strive to maintain these things in a way that that further us and the people and things that we care about.

This song puts emphasis on the fact that though life can be overwhelming, we are alive. We are going to feel and interact, and if we don't learn to use that to enhance our lives, it will happen anyway... with potentially more chaotic effects. Every age and interaction we encounter is important - be it seriousness or jest.

xo.

-Ash

Dave Rawlings Machine!

2010-02-09T09:58:00.000-08:00

(photo by Kristy Larson)

I had the pleasure last night of seeing the Dave Rawlings Machine at the Mystic Theater in Petaluma. (Dave Rawlings is primarily a bluegrass/americana artist - well known for collaborating for decades with Gillian Welch - and relatively recently collaborating with the likes of Ryan Adams and Conor Oberst).

I'd be lying if I said I was some connoisseur of folk/bluegrass. I appreciate what I've heard - it rings deep into the heart when I hear it. It's simple, grounding. Relatable. But, I've not invested in much of a record collection or show attendance up to this point. I will say, last night's show compelled me to up my dedication to the genre.

The Dave Rawlings Machine was comprised last night of Dave, Gillian, and members of Old Crow Medicine Show...No drums, plenty of acoustic guitar, upright bass, fiddle, harmonica, some banjo, and the thickest, most flawless harmonies I've heard in a long time. They played Dave's songs, Gillian's songs, a couple of Old Crow songs, and several covers. (The band was also joined by Peter Rowan on a few songs).

Some of the time Gillian and Dave played as a duet (gasp, sigh). They have been playing so long together, it's as if they come from the same voice. Heart stopping. Dave wrangles this old 30's archtop acoustic, and pulls the most incredible personality from it - dissonance, fast flamenco bursts, keen melodic insights. He wailed over a lot of songs (which I usual don't like much), but it was so complimentary and sensible that I could have listened to him embellish for hours. Gillian - she is steady, sweet, and as charmingly awkward as she is graceful. Her voice is absolutely rich and diligent. Ugh.

I could go on... but I'll just sum up what I walked away with:
The folk/bluegrass genre is so timeless and perfectly itself and it commands a lot of respect. The simplicity of its structure should no way negate the fantastic musicianship that often joins it. The structure makes it a perfect medium for bridging playing levels and styles, and a it reaches a broad demographic of listeners.
The members of the Dave Rawlings Machine obviously have respected and dedicated themselves to the art of this genre - and their common understanding made them move as an impeccable unit. Not that they were uniform - they would pop out and improvise at different points, but naturally fall back in place and at no point would they overshadow the others. They played as if they were pieces of grass all growing from the same soil.

Mind blown. I give this show 9 out 10 stars. (My only issue in the experience would be the guy with the big head sitting directly in front of me.)

To my dear friend Maria Villano, thanks for taking me to the show. Once again, you have broadened my horizons.

xo.

-Ash

Blog is a Funny Word.

2010-02-08T11:43:00.000-08:00

A place to be. To speak. To reach. A cradle for perspective. I feel initially strange about keeping a blog on behalf of the band...(ego checking, I suppose, a natural habit)... but for those of you who have investment in the music, perhaps this will be a welcome novelty. I thank you in advance for your interest, and will squeak things out as they come. Enough humility now. I'll own this role, dammit!

Allow me to formally introduce myself and explain why you might care. My name is Ash Scheiding. I'm 26 years old. I reside in Santa Rosa, California. Like many in the world, I am absolutely in love with music. It possesses me, and in turn, I have dedicated the truest parts of myself to it. It has always been there - I came from a family of musicians (most of the happiest memories with my family revolve around music). Through a semi-tumultuous life (as relative as that can be), song and creativity held me safe. It has been my means of communication and understanding, and has remained the ultimate symbol in rights of passage, preserved perfection, and coping in my life.

Besides living to listen, I have spent the greater part of my time (a decade with true intent) as a musician. And before that, I daydreamed and schemed about playing and performing. Always a song in my head -another's - or my own.

Speeding up, I have spent my adult life thus-far as a songwriter and participant in various projects - mostly rock bands. I've had a hand in the release (with humble results) several records, some tours, and have invested lots of time, energy, and money in making music.

Kindness and Lies is the latest of these endeavors - and honestly (and with the utmost respect for all of the past bands I've played with) - it is the most excited and confident I have ever felt about a project.

Why? Well, years of loyal friends and supporters definitely helps. Experience under the belt helps. As we grow, our expectations and responsibilities fall more into a realistic and efficient perspective. And, I am fortunate and grateful beyond belief to be working with a handful of my best friends who are dedicated to smart songs and hard work.

Good songs for this project, to me, are simple enough to make a concise point and dynamic enough to convey genuine emotion. I seek lyrics that honor the romance and the struggle of being human. I am a sucker for a badass pop hook and fearless harmony. As a songwriter, in the past I have tried at points to be harder, fancier, and more abstract - but now - I'm letting the simplicity flow and not over-intellectualizing what comes naturally from my gut. Salty or sweet, I'm going to let it taste how it tastes.

Some goals for this year: Dedicate more time and heart to my band. Experience more of other's music. Live more life. I'm looking forward to sharing.

(I will aim to feature the other members of Kindness and Lies as time goes on...)

xo.

-Ash