Thursday, March 18, 2010

K & L member highlight - about the Robert


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"

Friday, March 12, 2010

GRAVITY - about the lyrics

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
similar stories at least
half nightmare, half perfect dream
with you and I curled up 
somewhere in between

this room:
our combination of color and mess
our bed:
an altar of sleep and sex
befores and afters
harshest words and sweetest breaths
it has held us closer here than gravity

*is this a cage or is this a nest?
are we pinned down or are we at rest?

(If you have read any of my previous lyrical reflections, I tend to repeat my themes and perspectives. I hope that you are able to take more than just redundancy from this.) I guess I'll just get super candid for this one:

Long-term relationship. That's a lot of responsibility and quite a bit of compromise. When combined with being in your early twenties... it can be exponentially more intense! At this time, I was just starting to realize the real relationship I had with myself: Committing to my needs, obligations, wants. I was mourning the loss of some ideals about where I'd be or how it would feel to be at this place in life. I was also living with my significant other - and I was adjusting to the discrepancies of real and ideal in relationship. I don't know about you - but I daydreamed a lot as a kid about what life and love would look like in the future. Sometimes I doubted I would even make it to my 20's, and when I did, I certainly assumed I'd have a very cemented existence.

So here I was (lyrically, again) - unsure, partially floored and swept in the wonderment of adult life. I was tucking in or tearing off all my personal "Wait-a-minute..."s and "Is this really it?"s. I was also sharing this transitional time with another person... with their own process. Neither of us were a confident in our adulthood as we might have liked, and it got confusing and frustrating to determine where we were heading. Would we move in the same direction at the same time? Would one of us float away from the other? Was this relationship really the thing we should be tied to - and would it see us through necessary maturity?
One of our strengths - we kept each other safe and still. One of our weaknesses - this kept us potentially sedentary. This groundedness teetered on complacent states. Love was strong, and I'm honestly not sure if it was a real risk - but at times I found myself afraid to move (figuratively) for fear that I might end up without my relationship. 
We would also rile ourselves up and argue. I think this was an attempt to reenergize the dynamic, establish boundaries, and to test how strong our commitment was. (I've seen this to be common and often necessary in many relationships...)

It was a strange and wonderful time to be connected to someone else - (the positives certainly outweighed the negatives and I was glad to be there) - but objectively - we were as two trees sprouting simultaneously in very close proximity - struggling to rise in a forest thick with realizations. This often meant sporadic bursts and strained points of development, and the constant accommodation of the other's space. It was a struggle to determine in this nearness if we were supporting or hindering each other. I suppose just as it felt like both, it was both.

While I'm reflecting, I'd like to say that I'm absolutely grateful to have shared these growing experiences with someone so intimately. I will always be blown away by the love I have been given and the dedication that was braved in the process.

xo.
-Ash

Wednesday, March 10, 2010

Ingrid Michaelson - Everybody


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

Friday, March 5, 2010

Whitney Nichole and Ziva


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



Monday, March 1, 2010

THE CLOCK WATCHES ME - about the lyrics

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