u-mik’s Neighborhood

しかし、瑛太の人畜無害ぶりが配役としては合ってる。こういうのはプロデユーサーの腕の見せ所なんだろうか。

映画って愉しいなぁ。産業としての映画には生き残ってて欲しい。こういう「観る側を支配できるメディア」はそうはない。

ラブストーリー映画として当面、マイベストかも。

思いついてiPhoneで撮ってみた。

This is the latest series in my EPs reviews. I like doing these because I don't think they take that long to listen to these four or five songs. You get the gist of the band, but unfortunately, it's probably not as detailed and explored as reviewing albums.

Also, I am back on reviewing music as I have stopped going out to see live bands. I am still not accepting new music as I still have to clear out what I've already been sent/requested. Apologies to any promises that I may have made.

SARAH ELIZABETH FOSTER
sarahelizabethfoster.com ♥ myspace

Sarah Elizabeth Foster's EP, Gardening From the Ground Up Part 1 from Studio Sarah Records, is the first submission I've received for a 2010 release. Generally around this time, I get a ton of Christmas music offers (which, hey, I will be doing a roundup next week!).

Foster actually has a degree in music, singing French, German, Italian, Portuguese, Spanish, and, of course English. While this EP is only in English, it does showcase her classically singing abilities. My favorite song is actually the title-track, "Gardening From the Ground Up". There's something about this love song, from rain drops to the up-beat jazzy tempo, that I really like. This is in contrast to the opening song, "Wake Up", for a song that's about waking up, it sounds like "take it easy" evening song.

While people will automatically associate Foster to 60s girl singers, I think her vocal styles, would actually lends itself really well to modern indiepop music. I'm certainly interested in hearing what part two sounds like. If you live in New York, Foster will be playing tomorrow, December 4^th at Pete's Candy Store in Brooklyn.

FERAL CHILDREN
myspace.com/feralchildrenseattle

Feral Children is a "backwoods" band from Seattle, Washington. Their self-titled EP was a free released on Sarathan Records, while their forth-coming album, Brand New Blood, will be available digitally December 8^th, while a physical release on January 19^th, 2010.

As their name suggest, their music seems, I don't know, wild. Like "grizzly bear", "panda bear, "deerhunter" and "animal collective" wild, and this isn't surprising, considering Scott Colburn (Animal Collective's Feels producer) is their producer on the Feral Children album. Compared to previous bands I mentioned, Feral Children seems more melodic and less experimental. I'm not sure who produced their EP (I rarely get liner notes for digital submissions), but they certainly have that collective-like influence.

I did give the EP a few listens, and not entirely impressed with the singer (is it Bill Cole?). His vocals is very rough, voice cracking comes to mind on tracks like "Saint". While this may possibly be the greatest song done live, listening to it on headphones made me cringe.

Who knows, maybe their album will be much better than the self-titled EP. It is, after all, their first release, I'm sure they'll improve over time. Information on the free downloads, head over to Sarathan Records.

MOJORISING
mojorisingband.com ♥ myspace

I keep mis-reading this band as Major/ising, so I'm not sure if other people might have the same problem reading the name (it's OK people misread W♥M as "we love music" all the time...)

Mojorising recently moved from Los Angeles from Australia. So prices for their EP at $12 on the merch page might seem high, until you realize it's in AUS dollars.

My impression is that this duo makes some really funky music, but with classic rock attitudes (think Jamiroquai). The funk soul translate well on a few of their songs, "She Woke Up To Me" and "Sooth Me And Use Me". The later is very dancey, I suspect it will play well to a live audience. Incidentally if you are interested in hearing the first song, it's available as a free download.

The band is playing a few dates in California:

Dec 20 2009 THE MINT Los Angeles
Jan 10 2010 EL CID Los Angeles

SEA OF BEES
seaofbees.com ♥ myspace

Lara dismissed Julie Baenziger, aka Sea of Bees, as being too "CocoRosie/Joanna Newsom", and really - what's wrong with that ? As expected, Baenziger's vocal style is that of a small cute child. And also cute is the title of the EP, called Bee Eee Pee. This is a collection of four songs and one intermission song.

All of the songs are pretty minimalistic, usually with just acoustic and Baenziger singing. The stand-out track for me is "Willis", because it  does feature a melodic backing music (vs just acoustic alone). Also, the inclusion of the random intro is nice - it explained that this particular recording happens to be the third take.

Julie is doing some winter dates:

Dec 4 2009 Fox & Goose Sacramento, California
Dec 15 2009 Sacramento, California
Jan 26 2010 Matadero Huesca, Huesca
Jan 30 2010 Tanned Tin Festival Castelo, Castellón
Feb 10 2010 TBA w/ Mountain Man, Chelsea Wolfe and Dead Western Sacramento, California

Bee Eee Pee is out now on Bot Bot Records/Digisquad Records, you can find it on iTunes and Amazon.

PS, That's all I can manage today. Check out Ryan as he's retweeting on twitter/weheartmusic. You can see some of the tweets on the right-side of this page. The account is kept active by live blogging by myself, Ceji, and Ryan. Not just a robot account!

This is The Books' last date on their national tour, so they seem very comfortable being on stage. Since this was the Cedar Cultural Center, the audience consists of an older "NPR"-type of crowd. This was one of the most full show I've seen at the Cedar.

Baby Dee ♥ Cedar Cultural Center, Minneapolis (12/01/09)

Opening up for them was Baby Dee (official/myspace), an outrageous soloist cabaret that sings showtunes. Her flamboyant performance style lends itself to not-so-serious songs like "Big Titty Bee Girl (from Dino Town)". She spent most of her set on the piano, before heading over to the ominous harp for two songs. Apparently, this was just a small taste of what's to come, as she's heading back to the Cedar on April 19^th, 2010.

Before her last song, she introduced The Books by telling this joke about next to the dog, a man's best friend is a book. Next because inside a dog, it's too hard to read.

The Books set up two chairs and their movie projector at 9 o'clock. Remember, this is the Cedar, their shows starts early and ends early (no later than 10:30pm). Which its audience is an older (and probably gainfully employed crowd), so they like early shows.

So, back to the Books, they provided the live soundtrack to their movies. Everything is in sync, no technical problems at all. They even went so far as having a one-minute intermission song as they tune up their instruments. The intermission song features anagrams of the word "Immediate". Everything is calculated.

I find that trying to watch the movie and watching Nick Zammuto and Paul de Jong was somewhat distracting. I think they prefer you watch the screen, because watching the duo play isn't exactly that exciting.

The Books ♥ Cedar Cultural Center, Minneapolis (12/01/09)

Most of their songs are instrumentals, usually with samples, so the few songs that they actually sing on (like "Take Time"), I thought those stood out. The other thing about The Books is that they seem to find inspiration in anything and everything. For instance, their song "Smells Like Content" is basically 10 hours of audio recording from Nick's older brother. Their most interesting song, "Cold Freezing Night", are audio loops from Talkboy tape recordings that they found at thrift stores.

As for the encores, which incidentally is predetermined because of the movies that is associated with the songs, they did two songs. The first is a Nick Drake cover "Cello Song", which Paul explained is their only cover they do. It was for the benefit of the Red Hot organization for Aids awareness. If you recall, I've previously endorsed the organization by buying many of their music releases. Their final song is "An Owl With Knees" from their 2005 album, Lost and Safe.

PS, This is my final concert for 2009 (I hibernate during the winter), I would like to thank everybody for offering shows for me to review. I will be able to accept assignments in March-ish 2010, and/or whenever it stops snowing.

Trying to find quality music in today’s market is similar to trying to find real food at an all-you-can-eat buffet:  plenty to choose from but curiously homogenous, like the tapioca is the same color and consistency as the blue cheese dressing.  HOT bands scrounge for retro hooks that they can polish up with a slick coating of synth, while the kids eagerly line up, mouths open.  Nobody really cares that band Y is basically the same as last year’s band X, right down to the ethnic bass player.  It’s all about excess and intrigue: do it big or do it in a way that hasn’t been done before (or do it in a way that hides the fact that it’s been done before).  Naturally, this is any combination of MGMT, Dirty Projectors, Phoenix, Grizzly Bear, et al (think Pitchfork “seal of approval”); or, closer to home, electro-rock wunderkinds Solid Gold (who cried about their lack of fame like little bitches).  Amidst the fleeting charm, occasionally one stumbles across a band that feels new, despite an adherence to classic formulas.  These bands may value tradition over innovation, but boy do they smell like fresh leafy greens. Even if you’ve never heard of them.

Minneapolis duo Bella Ruse self-classify their sound as “indie folk jazz,” but when Joseph Barker plugs in his electric, as on opener “Push On,” the result doesn’t quite fit the categorization.  The sparse, moody guitar and Kay Gillette’s intimate vocals would be as appropriate for a sparse, moody Jim Jarmusch film as for a smoke-filled jazz club.  While “Push On” is Bella Ruse’s standout track, the rest of the EP is quietly pleasing.  “J’ai Presque Peur” is a smooth Pinot Noir toast to Edith Piaf and “Heart of Everyone” jangles along nicely.  When Norah Jones released her debut, I remember being underwhelmed at first, certain that her foray into “jazz” was one clarinet short of Lite FM.  However, after a few listens, I warmed up a bit, mostly because beneath the soccer mom ear-bait, I could detect the slightest shade of melancholy, and this interested me.  Bella Ruse is interesting in a comparable way (they had me at “kind of sad”).  Gillette’s voice calms rather than excites and sure, “Hold Me Close” would probably excite a Meg Ryan character (when she realizes that the Tom Hanks character is The One*); still, revisit “Push On” and convince me there isn’t a little Scout Niblett/Chan Marshall angst beneath the romantic sentiments. 

In his track notes, Barker admits that “Push On” was not an immediate favorite.  In fact, it took Gillette’s persistence and encouragement from fans to convince him that the song had a place on the EP.  Although this baffles me, I also kind of get it.  “Push On” is Bella Ruse’s “Hide and Seek”:  a stand alone track that deviates from an otherwise comfortable style.  There’s a reason why I’ve listened to the song a total of 27 times since I received the EP, except the ‘reason’ is actually a sensation—a slight tingling, milder than goosebumps but equally elusive.  My request for the band is simple: more, please.  More blood, sweat, tears, booze, ultra-lights, magic fairy dust or WHATEVER combination birthed this beauty.  More Pinot Noir, too.

Besides their debut EP, Bella Ruse has also released ‘Twas a Bella Ruse Christmas, a 4-song compilation of Christmas favorites.  Both albums can be purchased digitally at http://bellaruse.bandcamp.com.  For more information visit the band’s official website or e-stalk the pair on Facebook and Myspace.

*Sadly, my Nora Ephron references are dated.  Help.

ここまで作るのにどれだけ時間がかかるんだろう？