Wednesday, February 17, 2010

Metric - Fantasies

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

Friday, February 12, 2010

Snipers!!!

(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



Thursday, February 11, 2010

LOOK UP NOW - about the lyrics

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

Tuesday, February 9, 2010

Dave Rawlings Machine!

(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

Monday, February 8, 2010

Blog is a Funny Word.



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