Phoenix

Great feature on Arizona's Source Victoria and the band's new record, The Fast Escape, in the latest Phoenix New Times. Read it here.

"The Fast Escape, however, is no political manifesto. It's a beautiful narcotic that allows you, the lucky listener, to sail for the better part of an hour above (Brendan) Murphy's roughhewn voice as it recounts the uncomfortable truths, the impossible personal entanglements, and even the marginalized discordant background noises of everyday life that make this music so compelling and universal."

If you're in the Valley, check out the band on Jan. 25 at the Last Exit in Tempe. Also, don't forget, I'm putting on a show with Source Victoria and Birdmonster on March 8 at Angelo's Lounge in Phoenix. $5 will get you through the door.

[MP3]: Source Victoria | Miss Spiritual Tramp of 1948

If there is a crack in my armor of cynicism, Travis always finds a way to exploit it. For the most part, I cringe – or roll my eyes or snicker or gag – at sappy attempts of sentimental fluff in music. But, as I've said before, Travis somehow breaks me down. Every time.

Sunday's show at Marquee Theatre in Tempe, the first time I'd seen Travis live, was no different. From the band's juiced-up introduction (winding their way through the crowd in boxing robes to the Rocky theme song) to the closer (Why Does it Always Rain on Me?, naturally), Travis exudes a sincerity completely lost on the lightweight imitators the band spawned (Keane, Snow Patrol, etc.) – and every other self-important band, for that matter.

These are four guys (a fifth plays keys for the shows) who seem to genuinely enjoy making music – not just for themselves, but for others, too. The band works hard to foster a, ahem, good feeling among fans. (To wit: Singer Fran Healy spotted a young girl in the audience and jumped off the stage after a song to bring her a "gift" – a set of earplugs.)

And, yet, the way some people take cheap shots at Travis, you almost feel like you have to apologize for liking the band. Ooooh, they're not complicated enough. They're not indie enough. Who cares? I had a better time at this show – in the I'm-just-going-to-go-ahead-and-sing-every-song-and-not-care-what-people-think way – than any I've been to this year ... or any other year. Ah. There. I said it. I feel better.

After the first few songs, Healy said the band would play some old stuff, new stuff and "in-between" stuff. That Travis hasn't completely abandoned material from the 2003 commercial flop 12 Memories – the band played three songs off it – shows some guts, considering at least two people said to me recently: "The last thing I heard from them was The Invisible Band."

More power to Travis then for returning this year with The Boy With No Name, an album that could easily have been the successor to 2000's humongous hit The Man Who (nine times platinum in the UK or 2.7 million sales). Even still, Travis kept new material to a minimum, perhaps realizing that, with four years between albums – and, according to one fan, seven years between Arizona visits – it's best to reacquaint yourselves slowly. 

To that end, tucking Writing to Reach You – one of the band's most recognizable songs – right behind the Lust for Life-esque opener Selfish Jean played perfectly to the crowd. Later, Healy even ordered fans to point and chant the piano player's name (Klaus ... he's Swedish) during a solo. It's OK, he said, "It's a Travis show. This isn't Coldplay."

It was a joke. But you get the feeling Healy and his bandmates, all smiling and climbing amp stacks (what the hell was Andy Dunlop doing?), are more comfortable letting a group like Coldplay bear the pressure/expectations of being the next "it" band. If Sunday's show was a sign of a rejuvenated band in a happier place, then I can't wait to see what comes next ... at least not for another four years. 

Set list for Travis at Marquee Theatre in Tempe, 11/25/07:

Selfish Jean
Writing to Reach You
Love Will Come Through
Re-Offender
As You Are
My Eyes
Pipe Dreams
Beautiful Occupation
Side
Driftwood
Good Feeling
Closer
All I Want to Do is Rock
Turn

ENCORE:

Twenty (Fran solo acoustic with no amplification)
Flowers in the Window (Fran solo acoustic with the guys singing behind him)
Three Times and You Lose
Battleships
Blue Flashing Light
Slide Show
Why Does it Always Rain on Me?

In a news blast that spoiled my day – and the immediate future – Owen Evans, keyboardist in Phoenix favorite Asleep in the Sea, announced the group has broken up.

This from a MySpace bulletin:

unfortunately, tom (guitarist) has decided to leave asleep in the sea

we will still be playing our two shows in april and that will be the last time we all play together so come see it i guess

if anyone would like to buy our shirts or cd's, as it stands right now, we will continue to sell what we have left and everyone is highly encouraged to purchase

as far as the new album goes it will no longer be professionally released but discussion of some form of release is currently taking place

thanks to anyone who enjoyed our music, bought our music, booked us, let us sleep in their place, or helped us in any way

it's unfortunate timing for us, and i can't say i understand it fully, but it happened and i just wanted to make sure to say thanks

owen

I don't know any of the other particulars, but this is upsetting news. Asleep in the Sea was among my favorites in what seems to be a suddenly promising local scene. The three guys – Evans, Tom Filardo (guitar/vocals) and Eli Kuner (drums) – never take themselves too seriously, at least from what I could gather when I saw them live. To wit: Kuner played one show I saw with a cracked cymbal. When I asked him about it months later, he said it was out of necessity (he was broke) rather than choice. Clearly, they weren't in this for the glamour.

I shot an e-mail to Kuner, who responded in a somewhat downtrodden but hopeful/relieved manner, saying, "there's no point in looking back now" – DJ, cue Boston's Don't Look Back now! I told Kuner some eulogy was in order; his response?: "Eulogize the fuck out of us! because on the internet ... we'll live forever." And there you have it: the near-final words on the tombstone of Asleep in the Sea, indexed on Google for our future generations.

What makes this news all the harder to digest is the band had an album's worth of songs ready for release, likely subsidized at least in part by a smallish label/backer. I weaseled my way into getting my hands on a digital copy of the album (titled Avenue), 16 songs of the irreverent, quirky rock that made the group such a welcome change of pace. The longest song checks in at 3:36, and every two- to two-and-a-half-minute burst pops with clever instrumental interplay and insightful writing that sometimes gets lost in the band's catchy hooks.

Take Cancer and Bones, a track in which the sobering final chorus belies the bright attitude of the music: "Everyone is your best friend when ... / everyone is your best friend when you die." Then there's Seashorshes, from the Yay! O.K. Yeah? EP, a playful harmonizing ditty that could almost pass as a nursery rhyme – save for its sincere theme of questioning – mocking? – the point of war. "Where have the nice men gone? / off to seashores / off to foreign seashores."

What a drag. I planned on posting about this album, but I didn't expect it to be a sign-off for the band. On the bright side, Asleep will play its final two shows: April 16 @ Modified with Deerhunter and the Ponys and April 27 @ the Trunk Space.

Pick up the great Yay! O.K. Yeah? EP at iTunes for the best $4.95 you'll spend.

Asleep in the Sea | Dance On [from Yay! O.K. Yeah?]

In my neglect of the local Phoenix/Tempe scene, a lot of great music has come or is coming out that requires my catching up.

Continue reading "Lymbyc Systym: “Love Your Abuser”"

hursday's show was the second time in the past year I'd seen Starlight Mints, and if there's one thing I learned, it's this: Starlight Mints make people dance. In weird, inspired ways. In that-person-has-no-rhythm sort of ways. We're talking Elaine Dance material, with no regard to self-consciousness. 

Continue reading "Starlight Mints/Bishop Allen, Rhythm Room, 11/5/06"

Barsuk Records is giving away a pair of tickets for each show on Death Cab for Cutie’s upcoming tour, which includes a Dec. 2 stop in Arizona at Mesa Amphitheatre with Jenny Lewis and the Watson Twins.

Continue reading "Death Cab concert ticket giveaway (via Barsuk)"

So, um, when did the Album Leaf become so popular? I’m not trying to say that Jimmy LaValle and Co.  don’t deserve it because their show was tremendous, and as someone who had a passing interest in their music, it inspired me to listen a little closer. But I was not expecting a sellout with upward of about 300 people at the Rhythm Room.

Continue reading "The Album Leaf, Rhythm Room, 10/18/06"

God bless Modified, Phoenix’s modest and ambitious art/music space, a venue that welcomes so many indie artists when other places won’t. But if there’s one downside to Modified, it’s the size – no bigger than a small, two-bedroom home. With its plank-wood floors and standard drywall structure, Modified wasn’t meant to contain the sound coming from Silversun Pickups and Viva Voce on Sunday night.

Continue reading "Silversun Pickups/Viva Voce, Modified, 10/1/06"

If the increase in size of the crowd at Thursday night’s show compared to a March appearance at the same venue is any indication, Band of Horses is growing in popularity exponentially. Last night’s gig at the Rhythm Room drew roughly 300 people, compared to (and this is a rough guess) about 75 for a date in March. For Phoenix, that’s saying something. The buzz was palpable, and I’m still trying to figure out where it originated (magazines? radio? MySpace?).

Continue reading "Band of Horses, Rhythm Room, 6/29/06"