Categories
Live music galleries

Live music galleries: Interpol [2015]

(I got the idea for this series while sifting through the ‘piles’ of digital photos on my laptop. It occurred to me to share some of these great pics from some of my favourite concert sets from time to time. Until I get around to the next one, I invite you to peruse my ever-growing list of concerts page.)

Interpol live at Bluesfest 2015

Artist: Interpol
When: July 18, 2015
Where: Claridge Homes stage, Ottawa Bluesfest, Lebreton Flats Park, Ottawa
Context: I had been following this New York-based indie rock band for well over a decade by the time 2015 rolled around. Interpol were easily my preferred out of all the post-punk revivalists and their first two records are still among my favourite of the 2000s. Founding bassist, Carlos Dengler had left the band five years prior (in 2010) but the remaining trio of Paul Banks (vocals, guitar), Daniel Kessler (guitars), and Sam Fogarino (drums)* were still (and still are) very much a going concern. In fact, they had just put out “El pintor” the previous year, perhaps their best album in a decade. After initial a wave here and a smile there, pleasantries dispensed, they started in like gangbusters, a sonic assault of angular guitars and booming basslines, and Paul Banks’ iconic deep vocals, often lying in wait in the weeds and layers of synths. It was a powerful set and loud, mixing new and old seamlessly. Interestingly, they went to the well of 2004’s “Antics” quite often, digging out favourites like “Narc”, “Evil”, “Take you on a cruise”, “C’mere”, “Not even jail”, and finishing off the whole works with “Slow hands”. I especially appreciated the passionate and crazed rendition of recent single, “All the rage back home”, a personal favourite. I think my only critique of the set was that at around fifty minutes, partially due to an act finishing up late on the other stage, it all felt way too short. Still, Interpol!!!!

Point of reference song: All the rage back home

Sam Fogarino of Interpol
Daniel Kessler of Interpol
Paul Banks of Interpol
Brandon Curtis and Brad Truax, touring members
Paul Banks, Daniel Kessler, and Sam Fogarino

*They were joined on stage by touring bassist Brad Truax and Brandon Curtis (formerly of Secret Machines) on keys.

Categories
Vinyl

Vinyl love: Julien Baker “Little oblivions”

(Vinyl Love is a series of posts that quite simply lists, describes, and displays the pieces in my growing vinyl collection. You can bet that each record was given a spin during the drafting of each corresponding post.)

Artist: Julien Baker
Album Title: Little oblivions
Year released: 2021
Details: Limited edition, Indies only, embossed cover, yellow, lyrics book

The skinny: Much like Goat Girl’s “On all fours”, Julien Baker’s “Little oblivions” was purchased for my vinyl collection very early on in 2021. However, where that record was sourced from a shop outside of the country, this one was found at one of my local record shops: Ottawa’s The Record Center, to be exact. The Record Center was one of many ‘analog’ brick and mortar shops whose hand was forced to go ‘digital’ and create a larger online presence with the COVID-19 pandemic. Their online webshop is not all encompassing but I’ve landed a few great finds while doing a virtual dig on their site and my 7th favourite album of 2021 was one of them. Baker’s third studio album finds the singer/songwriter embracing a full band sound, adding more strength and structure to the talented lyricist and vocalist’s pallette. It’s beautiful stuff and along with the excellent package and lyrics booklet (complete with scribblings and doodles)*, my copy is of the ‘indies only’ yellow variant ilk.

Standout track: “Hardline”

*I wish more artists invested as much time and effort in their inserted booklets as Julien Baker has done here. Fun to explore and examine while spinning the record.

Categories
Tunes

Best tunes of 2003: #24 David & the Citizens “Until the sadness is gone”

<< #25    |    #23 >>

I can’t be completely sure how I ever came across this song but if I had to guess, it likely would have come to me care of American independent music magazine, Under the Radar.

I remember the first time I came across it, perusing the shelves at Chapters while my wife looked through vegetarian recipe books, and though I don’t recall who was on the cover, they must’ve drawn my interest because I flipped through the magazine and it was like its creators had the exact same tastes in music as me. It’s usually me having to locate my wife when finished my own wandering of the shelves in the store but on this day, my wife had to come find me. She wasn’t surprised to see me holding a music magazine but I think my excitement made her stop and take note. I blathered on and showed her pages and pictures and she patiently listened for a few minutes before suggesting I buy it and bring it home for more study.

And so I did.

And I started a regular occurrence of buying a copy of the magazine whenever I saw it on the Chapters magazine shelves. And then, one Christmas, my wife surprised me with a year’s subscription to the magazine, which I duly renewed the following year. Under the Radar has long since become a digital only magazine and website but I still refer to it regularly and it has been a source of many musical discoveries over the years, bands and artists of whom I would likely never otherwise have heard had it not been for its excellent articles and reviews. As I inferred before, David & The Citizens* and their dazzling sophomore album, “Until the sadness is gone”, is likely one of these finds.

The Swedish indie pop outfit was formed in 1999 by David Fridlund. He had named the group after a radio manual he had found but later removed the words “Band Tranceiver” from the end of the name to shorten it for public consumption. The group then went through many lineup changes and released a handful of EPs and full-length albums and even saw a modicum of success in their home country. But it wasn’t until three years after its initial domestic release and its Swedish Grammy nod that their second album managed to see the light in North America. “Until the sadness is gone” was given a new cover when Friendly Fires Records issued it in 2006 and this is the one with which I am most familiar. The group released a third album around this same time, which was also quite good, but then went on hiatus shortly afterward. Many years after moving to North America, Fridlund has returned to music and has resurrected the band but under a slightly different name: Citizens Band Orchestra.

The first two tracks on that 2003 album were both released as singles and the latter one, “Graycoated morning”, did quite well at home. But it’s track three, the title track, that I just love. “Until the sadness is gone” is frenetic acoustic guitar strumming set against an energetic klezmer rhythm, all dressed up with horn blasts and Conor Oberst-like snarling vocal angst. It goads you into getting up and losing yourself in dance, in music, and in letting both cure what ails. Yes, the power of music.

“And it won’t get bigger
It won’t get better
But put that record on and dance with me
Until the Sadness Is Gone“

*Were you concerned my digression would never return to the song at hand?

For the rest of the Best tunes of 2003 list, click here.