Arcade Fire at the 400 Bar
November 29, 2004
Wow, what an amazing show that was on Saturday night. I’ve been listening to the Arcade Fire’s new disc “Funeral” for the past week, and while I thought it was good, I didn’t understand why Pitchfork gave it a 9.7, but after seeing them perform live, I completely agree with a rating that high.
The small stage was packed with the seven members of the band, quite a few instruments, and a nice set of props including a xmas deer with the rotating head and lights. I didn’t know what to expect from their live show, but with that much on stage, I just assumed they’d stand there, play the songs and not do to much else. Well, that was tossed out right away as during the first two songs they had the crowd rocking out. I’d say it was probably the best start to a show I’ve seen in a long time, with the highlight being when two of the guys put on motorcycle helmets and continued to smack each other and anything else they could with drum sticks. And when one of the guys kept screaming into the mic that the lead singer was using, I thought for sure they were going to get into a fight.
It was one of those shows, were I didn’t want the night to end and really hope they tour again, as I’m sure they should be able to fill First Ave. But seeing them at a small place like the 400 Bar was perfect and it really added to the show. And really, it was nice to see some energetic behavior from a bunch of Canadiens. Speaking of Canada, they’re kinda kicking ass at indie rock right now.
At the show I ran into Nick, my college roommate who now lives in Chicago. He was at the Empty Bottle show the night before and drove up to Minneapolis to see them again. Unfortunately I didn’t see Sharyn, Chuck, Solace, or any of the other local bloggers that were at the show, although I pretty much stayed in the same place all night as it was packed and I had a great spot leaning up against the big post in the middle of the 400 Bar.
November 29, 2004 at 12:16 pm
Pretty good show, indeed. As The Boat and I discussed, it was surprising to see such musicianship with the “musical chairs” instrument switching. And the Buddy Holly/Napoleon Dynamite lookalike was priceless.
It is refreshing to witness a band with as much energy as Arcade Fire brought — Win Butler’s metronomic jerking, and the cheerleading chorus of an entire band’s backing vocals. I don’t know that I’ve ever felt the floor at the 400 bar spring like that. Not even for bands like D-Plan or Enon.
Twas also refreshing to be able to breathe relatively smoke-free air. Although, the place was packed to the gills, with the occassional asshat cassanova who thinks it the perfect place to cannoodle with his girlfriend in the faces and precious little space of others. Oh well.
I was a little concerned when they opened with Neighborhood #2(laika) and Rebellion (lies), in what I thought might be spilling the load too early. Not at all. Each successive songs had a new energy. And with 7 people on stage, there were plenty of teammates to pick up any slack. The momentum was only temporarily lost when there were dramatic instrument trades and some prolonged tuning. But that will certainly get ironed out with more playing and a rapidly growing following.
Arcade Fire have a bright future ahead. Their raucous performance and ambitious orchestrations will definitely be remembered. I just wish I could have heard Butler’s vocals more distinctly. That was partially the 400′s incosistent sound, and partially a worn-out voice. Maybe if he would have spent more time warming up his voice, and less time setting up ornamental farm animals around the stage!
Hopefully they return to a slightly larger venue.
November 29, 2004 at 12:35 pm
“occasional asshat cassanova” – perfect. I don’t know how they could stand all that canoodling themselves, it was so friggin’ hot in there. And what’s the point? If anything they were flaunting monogamy by being so insistent — I got more action standing to the left and slightly behind the guy’s girlfriend than a plastered japanese businessman gets on a 2 AM subway ride home (see article on problems of groping in Japanese subways for reference). Yeesh.
As for the band — excellent show. I concur with the slight dead spots being extended instrument exchanges and tuning, but they weren’t major detractors. And, I agree that the mix could have been a bit better. But the overall energy and pace of the performance was fantastic.
The Taxi and I had theorized that they might be better live than on the album, since they would not have as much time to be so dramatic and the urge for overkill would be preempted. And so it was. I think they follow in the steps of another Canadian band with a similar modus operandi – Broken Social Scene. The album (You Forgot it in the People) is chock full of instrumentals and other stuff, and it’s fantastic, but it winds up feeling a bit pretentious – like they’re trying just a TINY bit too hard. I have the same feeling listening to “Funeral.” I also feel however, that Broken Social Scene would probably be as great as the Arcade Fire was live. Hopefully on forthcoming albums, Arcade Fire can capture some of their “live” sound.
November 29, 2004 at 12:35 pm
“occasional asshat cassanova” – perfect. I don’t know how they could stand all that canoodling themselves, it was so friggin’ hot in there. And what’s the point? If anything they were flaunting monogamy by being so insistent — I got more action standing to the left and slightly behind the guy’s girlfriend than a plastered japanese businessman gets on a 2 AM subway ride home (see article on problems of groping in Japanese subways for reference). Yeesh.
As for the band — excellent show. I concur with the slight dead spots being extended instrument exchanges and tuning, but they weren’t major detractors. And, I agree that the mix could have been a bit better. But the overall energy and pace of the performance was fantastic.
The Taxi and I had theorized that they might be better live than on the album, since they would not have as much time to be so dramatic and the urge for overkill would be preempted. And so it was. I think they follow in the steps of another Canadian band with a similar modus operandi – Broken Social Scene. The album (You Forgot it in the People) is chock full of instrumentals and other stuff, and it’s fantastic, but it winds up feeling a bit pretentious – like they’re trying just a TINY bit too hard. I have the same feeling listening to “Funeral.” I also feel however, that Broken Social Scene would probably be as great as the Arcade Fire was live. Hopefully on forthcoming albums, Arcade Fire can capture some of their “live” sound.
November 29, 2004 at 1:51 pm
bss is definitely more pretentious than the arcade fire, but i don’t mind it so much because they’re so ridiculously awesome & talented (see their countless “side” projects). and they’re friggin’ amazing live as well – not as rambunctious as the arcade fire, but likewise very passionate & a little more jammy (but not in a bad way). god bless canadia!
November 29, 2004 at 1:52 pm
At some point, indie bands and their producers have to stop dumbing down their recordings. Lo-fi is cool, but it’s becoming contrived. If I want to listen to a band playing in a cardboard box singing through a walkie talkie, I’ll listen to STP’s Core.
Unfortunately, I couldn’t listen to Funeral or anything else on the way back to ND. Working on the car yesterday, I unhooked the battery to clean off the pos. terminal. My radio wanted a security code after resetting the clock. Still waiting to hear back from the Saab dealer for that code…
Damn Swedes. Security codes on radios, but no cup holders.
November 29, 2004 at 3:52 pm
Sweet. Pictures from the show over at morecowbell.net
November 29, 2004 at 3:52 pm
Sweet. Pictures from the show over at morecowbell.net
November 29, 2004 at 4:14 pm
J-Me, what exactly is your comment referring to? because Funeral is FAR from lo-fi. just wondering. but i tend to agree.
November 29, 2004 at 5:40 pm
I feel there a lack of clarity or crispness on the recording of Funeral. It doesn’t have the same life or snap that the some other bands of that caliber have in their’s. Without getting mired in comparissons, there’s just a compression that the recording has, especially with the drums — no pop, no snap. It’s not a bright sound. I really want to hear that. There also seems to be a lack of space, maybe frequency wise, between the instrument themselves, as well as the vocals. Too much happening in a narrow band of audio space. Now that I’ve seen some of the instruments and amplifiers, I understand the the source of some of this. It’s probably overused in my case, but listen to Antics and my commentary might make more sense.
Funeral is a good recording, don’t get me wrong. It just seems to me that it is limited and shouldn’t be.
November 29, 2004 at 8:25 pm
ah, odd, i think Funeral sounds very good myself. i’ve produced a few things, so i’ve def got my idea of what is and isn’t good sound, but that’s obviously personal preference too.
i def don’t think it sounds bad by any means. a lot of the songs sound very bright imo.
for a band of their caliber, and the fact that it had no label before they finished it, i think they did a great job w/ what $$ and resources they had.
as for Antics, meh, no comment.
November 29, 2004 at 8:25 pm
ah, odd, i think Funeral sounds very good myself. i’ve produced a few things, so i’ve def got my idea of what is and isn’t good sound, but that’s obviously personal preference too.
i def don’t think it sounds bad by any means. a lot of the songs sound very bright imo.
for a band of their caliber, and the fact that it had no label before they finished it, i think they did a great job w/ what $$ and resources they had.
as for Antics, meh, no comment.
November 29, 2004 at 8:29 pm
also, are you listening to an actual copy of the album? or one someone downloaded? because the earliest version of the album that leaked online back in June was unmastered. it wasn’t until later in July that the final mix leaked.
just checking.
i do think that some of the guitars on the albumc ould def be higher in the mix, that’s for sure. but i think the drums and bass sound awesome. i was a bit turned off by some of the vocal effects used at times on the album though, but i’ve gotten over those.
the production of Funeral is very similiar to the Walkmen’s “Bows & Arrows” imo, granted an album that i really only like 2 or 3 songs on (though the songs are much much MUCH better live).
November 30, 2004 at 12:01 am
also, not sure if you’ve heard the demo EP, but if you compare the sound of that, and compare it to Funeral, i think you might get a better appreciation for Funeral’s sound.
the songs on the EP kick ass, but they def do suffer from the production a bit. i guess i’ve just never felt too dissapointed w/ the production on Funeral myself, and i’m super picky when it comes to that sorta stupid stuff that most people don’t care about, lol.
def wouldn’t win any awards from me, but doesn’t really detract for me either.
i def don’t agree w/ PFM giving it a 9.7 though. i love the album and all, and it’s grown on me a ton since it leaked in July or whenever, but it’ll prolly end up around my top 5 for the year. i’d probably give it like a low 9 or so.
November 30, 2004 at 9:57 am
Solace – I think the overall point is this: contextually, AF did a great job with the album. If I remember correctly from the liner notes, they recorded the thing themselves in an apartment using a mixture of 8/16/32 track tapes. Considering that, they did a wonderful job. It doesn’t sound amateurish, and has that sort of frayed-on-the-edges “indie” sound that everyone is gunning for these days. The comparison to Bows + Arrows is pretty appropriate I think.
That said, I think the counter-point is that given what we (speaking for J-Me and myself) know about AF (all the instruments used, the overall approach of their music, etc.), we want more than a “Bows + Arrows Sound” out of them. AF aren’t a band with a couple of guitars, an organ and a drum set. They have a literal arsenal of instruments and creativity at their disposal, and it just seems a shame to have it somewhat “lo-fied”.
Again, they did a lot with a little, and I don’t want to begrudge them that. At the same time, on their next album I would really like to see them capture the “crispness” that they put out live.
Also – I agree with a low 9.0 for the album. To me it is in the same vein as other low 9s on the P-Fork scale: The Strokes’ debut, Interpol’s debut, Bows + Arrows, etc. It’s fantastic stuff, but it doesn’t blow my pants off like a 9.7 should.
November 30, 2004 at 9:57 am
Solace – I think the overall point is this: contextually, AF did a great job with the album. If I remember correctly from the liner notes, they recorded the thing themselves in an apartment using a mixture of 8/16/32 track tapes. Considering that, they did a wonderful job. It doesn’t sound amateurish, and has that sort of frayed-on-the-edges “indie” sound that everyone is gunning for these days. The comparison to Bows + Arrows is pretty appropriate I think.
That said, I think the counter-point is that given what we (speaking for J-Me and myself) know about AF (all the instruments used, the overall approach of their music, etc.), we want more than a “Bows + Arrows Sound” out of them. AF aren’t a band with a couple of guitars, an organ and a drum set. They have a literal arsenal of instruments and creativity at their disposal, and it just seems a shame to have it somewhat “lo-fied”.
Again, they did a lot with a little, and I don’t want to begrudge them that. At the same time, on their next album I would really like to see them capture the “crispness” that they put out live.
Also – I agree with a low 9.0 for the album. To me it is in the same vein as other low 9s on the P-Fork scale: The Strokes’ debut, Interpol’s debut, Bows + Arrows, etc. It’s fantastic stuff, but it doesn’t blow my pants off like a 9.7 should.
November 30, 2004 at 10:01 am
Speaking of Pitchfork: Music Dudes Dictate Culture From Chicago
“Without Pitchfork, I can’t imagine that all the hype around the Arcade Fire would have happened,” says Mr. Hougland. “It’s totally Pitchfork; it’s not even worth speculating about. It’s possible that they would have gotten that popular, but it would have taken a lot longer.” Merge Records, the North Carolina–based indie label that put out Funeral, sold out their initial printing of the record and now have pressed an additional 60,000 to fill demand.
It’s a pretty decent article if you have the time to read it.
November 30, 2004 at 10:02 am
Oh, and don’t know if it would make a big difference, but J-me and I both bought the album over iTunes.
November 30, 2004 at 11:32 am
there was tons of hype on blogs and forums long LONG before Pitchfork reviewed it. it didn’t hurt, but it wasn’t a big factor either.
as for the sound, i hear ya, and that’s what i was saying. for what they had to work with, and a band of their size and popularity at the time, it turned out really great. but yeah, it’ll be interesting to see what they do with a bit of $$ next album.
can’t say i’d give Is This It too high of a score, 7.5-8 maybe, and probably an 8 for TOTBL, just not really into the Strokes too much at all sadly (i actually prefer Room On Fire for the most part), and while i like Interpol (hate Joy Division tho, amusingly), and they’ve gotten better live, there’s still something about them i don’t really like that much. they’re a good band, just not even close to one of my recent favorites.
November 30, 2004 at 11:35 am
did any of you guys see Interpol’s 400 Bar show in Sept 02? or Jan 03? curious if you thought they were as boring as i did back then. the last First Ave show was pretty good though, as was their set at Curiosa in Denver.
kinda same w/ the Strokes. i saw them open for Doves at the Entry in like April 01 or whenver it was, wasn’t too impressed at all, just a drunken, average, NYC garage band. their show later that fall after Is This It came out at the Entry wasn’t much better. basically the album, in order, no deviation whatsoever, but their First Ave show earlier this year was pretty enjoyable.
November 30, 2004 at 11:35 am
did any of you guys see Interpol’s 400 Bar show in Sept 02? or Jan 03? curious if you thought they were as boring as i did back then. the last First Ave show was pretty good though, as was their set at Curiosa in Denver.
kinda same w/ the Strokes. i saw them open for Doves at the Entry in like April 01 or whenver it was, wasn’t too impressed at all, just a drunken, average, NYC garage band. their show later that fall after Is This It came out at the Entry wasn’t much better. basically the album, in order, no deviation whatsoever, but their First Ave show earlier this year was pretty enjoyable.
November 30, 2004 at 11:36 am
err, the Jan 03 show was at First Ave, sorry
November 30, 2004 at 11:53 am
Will’s voice is like a cross between David Byrne (obvious) and the guy from Simply Red. Just an observation.
Solace, I feel ya. Legitimate points. I didn’t mean to imply that Funeral sounds bad. On the contrary, it does sound pretty good, and I do appreciate it. But, being the critical listener that I am — err, we all are, I wished for more. More space between the instruments. Again, too much happening in too narrow a space.
The Tube, I think, is right on; applauding that they accomplished a lot with a little. Next time ’round, we probably won’t be having this coversation. It’s a nice one to have, though.
Diddo for the album rating. Pitchfork loves to have their darlings, though.
November 30, 2004 at 12:27 pm
simply red? hahaha awesome.
i def agree w/ Byrne, and even some Gang of Four (not very obvious tho), and while i dunno that they’re influenced by, they def share some similiarities to some of Modest Mouse’s work. amusingly enough, i enjoy Funeral more than any of MM’s records combined, lol.
but yeah, glad we’re all on the same page re: Funeral’s production. i guess i’d just rather something be a bit underproduced, than overproduced, is my general rule of thumb.
hope that “Burning Bridges, Breaking Hearts” song makes their second full length, because it’s a killer tune.
November 30, 2004 at 12:27 pm
simply red? hahaha awesome.
i def agree w/ Byrne, and even some Gang of Four (not very obvious tho), and while i dunno that they’re influenced by, they def share some similiarities to some of Modest Mouse’s work. amusingly enough, i enjoy Funeral more than any of MM’s records combined, lol.
but yeah, glad we’re all on the same page re: Funeral’s production. i guess i’d just rather something be a bit underproduced, than overproduced, is my general rule of thumb.
hope that “Burning Bridges, Breaking Hearts” song makes their second full length, because it’s a killer tune.
November 30, 2004 at 12:33 pm
Saw both the Jan ’03 show and the October ’04 show. Loved them both, although I thought the overall production and feel of the later show had improved quite a lot. My feelings about the shows are skewed however, since I count Interpol as one of my Top 5 bands at the moment.
I sort of use the Moen-rating system when it comes to shows. If I leave a show and the first thing I want to do is listen to an album by that band, then it was a good show. Just how desperate I am to listen to that music again in an attempt to recreate the feeling of the show is an indicator of how much I liked it. After the Jan ’03 show I stumbled into my apartment around 1:30 on a work day, and promptly put TOTBL in the CD player, plugged in my heaphones, and cranked the music — it wasn’t even a question. Same thing with the Oct ’04 show. But like I said – I love Interpol, and one’s love of the music has a lot to do (obviously) with how much one enjoys a show. Alas …
November 30, 2004 at 12:46 pm
the Jan 03 show was def better than their Sep 02 show at the 400 Bar, where they burned numerous holes in their shoes. they were so uninterested/bored. it’s good to see them moving around/being more interested now.
i actually was a bit turned off by some of the lighting/production of the recent First Ave show honestly. sometimes it’s just a bit much for me, especially in a small club like First Ave. i thrive off the music, and if a stage show/light show is distracting from my enjoyment of the music (like it was then, some of those spotlights were just way too bright imo), then i’d rather them back it off.
but by the same token, Coldplay had a pretty amazing light/stage show at First Ave too, and i’m not even a fan of Coldplay too much mind you, so there’s a fine line.
i like Interpol a lot, but like i said, there’s just something about them, maybe it’s their pretentiousness (which usually doesn’t bother me/factor in much), but not entirely sure. whatever it is, it keeps them from being a favorite really, and just a band that i enjoy a bit, and listen to on occasion. but like i said, i could never stand Joy Division, save for a song here or there, so maybe it’s just their overall sound isn’t my style for the most part too. i def prefer the first record, but i think Antics is more consistant overall. it’s just that there’s not a single tune on Antics that can touch the top 3 (or even 4) songs on TOTBL (obstacle 1, nyc, untitled, and the new) imo. totbl had a handful of songs towards the 2nd half of the disc that i didn’t really like too much. like Stella, is one of the more annoying Interpol songs imo (musically it’s ok, vocally & lyrically, ugh), but i know people seem to dig it, so i dunno.
i think another thing about Interpol that’s stopping me from really considering them a great band too, is how bad their lyrics can often be. i was really hoping for a step up in lyrical quality on Antics, and i didn’t feel there was much of one at all.
November 30, 2004 at 1:31 pm
Solace, take a sec to read this review. It explains, at least for me, why Interpol is a band to be reckoned with. Especially pertinent to our little production conversation here.
Sadly (and thanks for rubbing it in) I haven’t seen Interpol live. But I’ve always been curious to see how they pull it off live. TOTBL (and Make Up the Breakdown) got me through my first winter in Grand Forks. Similarly, Funeral may be one of those season-defining records for me, whether it’s worth a 7.5 or a 9.7.
November 30, 2004 at 1:31 pm
Solace, take a sec to read this review. It explains, at least for me, why Interpol is a band to be reckoned with. Especially pertinent to our little production conversation here.
Sadly (and thanks for rubbing it in) I haven’t seen Interpol live. But I’ve always been curious to see how they pull it off live. TOTBL (and Make Up the Breakdown) got me through my first winter in Grand Forks. Similarly, Funeral may be one of those season-defining records for me, whether it’s worth a 7.5 or a 9.7.
November 30, 2004 at 1:40 pm
cool, gotta say i dunno that i think that much about music though, haha. not saying your review is bad, per se. but i look at music in much more simpler terms.
i’m a musician myself, have played guitar & bass for about 13 years now, and am in the process trying to teach myself piano, so i basically look at it from that aspect first, then the vocals, then lyrics. and how it’s presented as one big package, is how i come to my overall conclusion about a band, album, or song.
i don’t really look for deeper meaning in song lyrics or albums. if their themes are very apparent, cool, but if the music doesn’t interest me first and foremost, it’s pointless for me to try and make it into something it’s not. i rarely try and interpret lyrics, unless they tell a very compelling story that’s imagery is impossible to ignore.
if lyrics are exceptionally good, and vivid, i will take note. if they are exceptionally bad, i will also notice them. but i’d say 80% of music falls in between. i’m much more a fan of people who can choose words that fit well together (Dylan, Jeff Tweedy, for example) than people who are great storytellers w/ their music. and i guess for me, Interpol’s lyrics have always had a lot of really bad lines that stick out for me. but luckily the music is good enough to overcome those downfalls.
November 30, 2004 at 1:52 pm
and i know you didn’t ask, but since you posted a link to it, i’ll critique your review a bit.
“Still my favorite is Not Even Jail. The determined pistons of Fogarino drums and a gas guzzling Carlos D bass line in its opening. The churning guitar effect almost like an ignition turning. Then the ethereal tick-tock from Banks and Kesslers strings creep in – the momentous chorus that clockwork builds. All the while cooled by Banks’ icy whispering. It’s hard to describe how brilliant this song is.
Interpol are consummate masters of economy. By that I mean that every instrument is occupying a frequency space such that no one is “walking on” anyone else, but that space is still full. It starts with the guitars. Banks and Kessler keep their parts so minimal – dividing a between the two of them. That takes serious discipline and invention. Carlos D holds the root. But he so deftly steers the progression, only embelishing where you almost don’t notice.”
While some people might appreciate reviews/wording such as that, i’d venture to say that a large portion of music listeners get turned off very quickly by overly wordy reviews/reviewers. It’s phrases like “The determined pistons of Fogarino drums and a gas guzzling Carlos D bass line in its opening.”, that turn me off of places like Pitchfork, and other review sites. That says absolutely nothing about the music to me. Not saying it doesn’t for you, or maybe others, but for me it’s just someone being creative/wordy in their approach to describe music.
again, not a slight, just my observation.
i personally don’t read any music reviews, regardless of the source, it’s just not how i operate. i equate my music listening to, when i go to a new restaurant, i’ve gotta try out everything on the menu until i truly know what is good and what isn’t. it gives me a greater appreciation for the truly good food, and the truly bad food.
now, that doesn’t mean i’m going to listen to a Good Charlotte album or something, just because there’s a chance it could be good, my radar is much better at weeding out the shit than that. but i’d estimate i’ve purchased around 35-40 brand new albums this year (ones that came out in 2004), and for those 35-40, there’s probably 30-40 that i listened to, and maybe enjoyed some, but not enough to purchase, or warrant much of a mention.
November 30, 2004 at 2:29 pm
I tend to agree with you Solace on over wording of reviews, but I think that music, esp good music, warrants some imagery in the reviews. And really, that’s the point of a review, for a writer to put the music/feelings/emotions into words.
Anyways, thanks for the comments guys, it’s been entertaining.
November 30, 2004 at 2:36 pm
Well, since I don’t do reviews for a living…
Forgive the feeble attempt at some poetic liscense (for better or worse). You can take issue with that. That’s cool. But you can’t just say that it turns you off, and then run and hide behind statements that you don’t read any reviews. Any suggestions? Again, the poetic stuff is fluff. But the part beginning with “Interpol are consumate masters of economy…” That’s where I feel like I can stand on my own.
November 30, 2004 at 2:36 pm
Well, since I don’t do reviews for a living…
Forgive the feeble attempt at some poetic liscense (for better or worse). You can take issue with that. That’s cool. But you can’t just say that it turns you off, and then run and hide behind statements that you don’t read any reviews. Any suggestions? Again, the poetic stuff is fluff. But the part beginning with “Interpol are consumate masters of economy…” That’s where I feel like I can stand on my own.
November 30, 2004 at 2:36 pm
agreed, i just think there’s a fine line between artsy/wordy reviewd and technical/musical reviews, all the while, putting it together so that it’s easily understandable from both types of music listeners.
music is an artform, yes, but there is a lot of technical/physics aspects involved too. i tend to try and find a happy medium between being able to describe pieces of music in a technical or musical manner, without being too technical that people won’t understand, all the while adding a good bit of creativeness/literature background into my word choices too.
i don’t want to read a review of a piece of music that reads like a piece of literature, nor do i want to read one that reads like a piece of sheet music either.
make sense? :)
November 30, 2004 at 2:38 pm
J, i posted that after i saw your reply, but hopefully some of that gives you some suggestions.
and i’m not saying that all reviews are pointless, i just personally don’t find them useful. but, like i said, overly wordy reviews are one of the biggest reasons i don’t bother reading sites like Pitchfork too.
November 30, 2004 at 2:42 pm
music is an artform, yes, but there is a lot of technical/physics aspects involved too. i tend to try and find a happy medium between being able to describe pieces of music in a technical or musical manner, without being too technical that people won’t understand, all the while adding a good bit of creativeness/literature background into my word choices too.
Hmm. For arguments’ sake, I was actually balancing the artsy-fartsy with the technical.
/kicking a dead horse.
November 30, 2004 at 2:42 pm
music is an artform, yes, but there is a lot of technical/physics aspects involved too. i tend to try and find a happy medium between being able to describe pieces of music in a technical or musical manner, without being too technical that people won’t understand, all the while adding a good bit of creativeness/literature background into my word choices too.
Hmm. For arguments’ sake, I was actually balancing the artsy-fartsy with the technical.
/kicking a dead horse.
November 30, 2004 at 2:42 pm
i thought of another comment i forgot to mention too.
while reviews that read like a fiction book often bug me, nothing bugs me more than a writer who tries to play it off as though they know and understand music from the technical/playing aspect, when it’s obvious that they do not.
so in a word, if you don’t play music yourself, that’s fine, but don’t play it off as though you do, because that is even more annoying.
just a general observation, not speaking about your review.
November 30, 2004 at 2:45 pm
Hmm. For arguments’ sake, I was actually balancing the artsy-fartsy with the technical.
/kicking a dead horse.
ahh, sorry, i guess it wasn’t totally apparent to me. but like i said, i kinda got lost in the wordiness too, maybe another read through it i might have picked up on it more. but i guess that’s somewhat of my point, if you have to read a review more than once really, to get what the author is trying to convey, then i feel it’s not exactly a well executed review. but other than certain lines that you may like or that stick out, having to go back and re-read a review to understand what they’re trying to say, is not a good thing imo.
November 30, 2004 at 2:51 pm
Just to get it out there, J-me has played bass in a few bands and for, what, 10 years now?
I, on the otherhand, can’t even play air guitar so I definitely stay away from talking about the techincal/playing parts.
November 30, 2004 at 2:51 pm
Just to get it out there, J-me has played bass in a few bands and for, what, 10 years now?
I, on the otherhand, can’t even play air guitar so I definitely stay away from talking about the techincal/playing parts.
November 30, 2004 at 2:57 pm
that’s cool, wasn’t doubting or questioning his musical knowledge at all, like i said, that comment was just a general one, one that i find a lot of Pitchfork reviewers like to act as though they wrote Beethoven’s 5th or something.
playing music definitely isn’t a pre-requisite of writing good music reviews, nor vice versa. which is good, because i don’t think i could write reviews for a living either. i’d hate music after a year or two if i had to write reviews for a living. live shows, maybe not, that’s a totally different animal altogether.
November 30, 2004 at 3:16 pm
just a funny/amusing comment (at least it is to me), when i try and explain to people/friends that i don’t really dig too deeply into music, at least as far as trying to find meaning in an album, or a song, or a lyric, nor do albums/songs really dictate my mood/thoughts/feelings, i’ve had people on a couple of occasions accuse me that “oh, maybe you just aren’t as big of a music fan i guess”.
and i get a good laugh out of that. i doubt if i wasn’t a big music fan, that i’d drop the kind of dough and time i do on shows. i’ve averaged around 80-120 shows the last 3-4 years here in the Twin Cities (and midwest), so i highly doubt that’s the case ;). i tend to think that there’s just a couple different ways in which or why people listen to music. some listen to music for an escape or to put them in a better/different mood or state. some, such as myself, listen to music for entertainment, and for the excitement factor, and then for many others, it’s simply background music. all are just as worthy really, but it’s definitely a big difference in the grand scheme.
for me, i guess i’ve allows music to consume my life, for better or for worse, and it’s really all that i do. if i’m not listening to music, i’m playing music. if i’m not playing music, i’m talking with others about music, or writing about music, or searching for new music, etc. it’s probably borderline OCD, but oh well, it’s what makes me happy in life, so why not do it to the fullest right? :)
November 30, 2004 at 3:40 pm
was just checking out your past concerts, holy shit i wished i lived here my whole life:
08/17/96 Cedarfest Frank Black 16 Horsepower / Semisonic / The Posies
that must have been a killer show, even if just for Frank & The Posies, not to mention 16 Horsepower.
me = jealous :)
November 30, 2004 at 3:50 pm
Oh man, I barely remember that show. It was my birthday and I think it was really hot, plus super packed as that was probably one of the bigger Cedarfest as far as quality of bands goes. It’s unfortunate that Cedarfest had to end, as it was always my highlight for the summer.
Where did you live before coming to Minneapolis?
November 30, 2004 at 3:50 pm
Oh man, I barely remember that show. It was my birthday and I think it was really hot, plus super packed as that was probably one of the bigger Cedarfest as far as quality of bands goes. It’s unfortunate that Cedarfest had to end, as it was always my highlight for the summer.
Where did you live before coming to Minneapolis?
November 30, 2004 at 3:56 pm
the bastion of indie rock that is Montana!!
haha
i basically moved to where the music (and jobs) were because i was tired of having to drive 6 hours to Salt Lake City or Boise to see a decent show :)