Jaguar Love @ Emo's, 10.25.08

Jaguar Love is a love ‘em or hate ‘em type band with no middle ground. Even as they started their performance at Emo’s Lounge you can see people in the crowd light up with approval or cringe in annoyance. It’s all in the way you perceive lead man Johnny Whitney. If you can see his top-of-the-lungs yowl and flamboyant stage presence as refreshing, when so many indie bands are beginning to sound alike, than you fully appreciate this band. If not, you think he’s annoying and would rather have the sound of his voice erased from your memory.

I lie on the side of the fans. Not only because of Whitney,but also because of drummer Jay Clark who was a guitarist in one of my most favorite bands Pretty Girls Make Graves. Jaguar Love is actually an indie supergroup (if this oxymoron term can actually exist) made up of PGMG'er Clark along with Johnny Whiney and Cody Votolato both formally of The Blood Brothers. When those two Portland bands broke up in 2007 the three came together to form a new band that keeps its sound rooted in that of both predecessors and simultaneously stretches to new corners of art-punk. Their debut album Take Me to the Sea was released earlier this year on Matador.

The live performance this past Saturday (10.25) at Emo's was pretty much what should have been expected after listening to the album– an assault on the senses. Whitney struts and jives like he’s living his own Saturday Night Fever and sings in a high-pitched squeal that probably resembles the screams of small children thrown into a fire. And despite what you're take on that is, one can't deny that there wasn't a moment when the band didn't give their all. Clark looks like he has made a smooth transition to the drums and Votolalo's guitar provides all the needed momentum for his blood brother. Whether is was the full-on punk of "Highways of Gold" or the power ballad “Bone Trees and a Broken Heart,” Whitney bounces from one side of the stage to the next and gets the crowd grooving right along with him.

Incidentally, a video for “Jaguar Pirates” was just released showcasing what their live performance consist of. So check it out…

Ayria @ Elysium, 10.24.08

Jennifer Parkin was one of those musicians that I had pretty much never expected to see live. Not that I wouldn't have jumped at the chance; since discovering her music back in 2006 her albums have never left my arm's reach. Her synthpop seductive vocals and passionate lyrics are the type of thing I eat up. But the Canadian goth hadn't visited the states for several years and I just am not that in tune with the electronica scene to know when people are releasing albums or touring. So it was kinda miraculous when I discovered that she had just released a third Ayria album and was part of the Immortal Tour (with I:Scintilla and The Cruxshadows). Living in "The Live Music Capitol of the World" once again payed off this past Friday (10.24) when Ayria played Elysium. 

Parkin made her debut as part of the group Epsilon Minus before leaving to start her Ayria project. This group pairs her with a different producer on each album. For the latest Hearts for Bullets Parkin enlisted the skills of Sebastian Komor. Ayria's music is a great mix of industrial-electronica and synthpop that is sure to pulsate through your body.  

For Ayria's performance at Elysium, Parkin was backed by her touring band consisting of Mike Wimer on electronic drums and Jeff M. on keyboards. Those two lay down the pounding beats while Parkin dances from one side of the stage to the other. She works the crowd by singing directly to them and at times kneels down at the front of the stage to interact with some of her fans. The performance is all about having fun and at one point the joke was even on Ms. Parkin herself; during "The Gun Song" two Elysium dancers came on stage to surprise her with a routine to the song. Parkin had to laugh her way through the song and joked about having to put on a serious "goth face" before going further.  

The set stuck to Ayria's more BPM-obliterating electronica; consisting of oldies "My Revenge on the World" and "Disease" but mostly playing material off the new album like "1000 Transmissions," "Girl on the Floor," and the title track "Hearts for Bullets." Her vocals are just as alluring live as on the albums and her beauty is even more stunning in person. Jennifer Parkin is the pure definition of a industrial diva. 

The Ting Tings @ The Parish, 10.19.08

This past Sunday (10.19) one of the biggest breakthrough bands of the year came to The Parish. The British duo The Ting Tings have made quite the name for themselves since their last visit to Austin during SXSW. They’ve achieved a #1 single and album in the UK, picked up a nomination for Video of the Year at the MTV Awards, a win for Best UK Video, and gained great exposure by giving an small performance at the awards show. Their catchy punk-tainted pop is quite infectious and the packed Parish was evident of that.

The Ting Tings are definitely a high-energy band. With Jules behind his drum kit most of the performance, Katie takes command switching between different guitars and dancing up a storm. The size of The Parish stage is ideal for a two-piece band; small enough that it doesn't swallow the band, and large enough that they can move to the music. They stuck to the 10 songs on We Started Nothing, beginning with a revamped version of "We Walk" and closing with the hit "That's Not My Name." The opening of each song drew a response from the crowd and everyone seemed to know every word.  A band just coming into their own, The Ting Tings put on a good show.  Their music displays great potential to grow and evolve–and most important, it will stick in your head for days.  

[SSv] Review: Jessica Lea Mayfield - With Blasphemy So Heartfelt

It’s good to cry. The act itself is the physical manifestation of an internal burst of emotion, so whether it is out of hurt or happiness, the shedding of tears at times is a necessary expression. That release seems to be what is behind With Blasphemy So Heartfelt, the debut album from Jessica Lea Mayfield. Listening to this candid album elicits the notion that each of the 12 tracks is a tear leaving a trail down her face as it drops. At the core, With Blasphemy So Heartfelt is a collection of almost painful love songs that’s sure to play on “repeat” during future break-ups.

Kent, Ohio’s Jessica Lea Mayfield was heard earlier this year on “Things Ain’t Like They Used To Be,” the closing song on The Black Keys’ Attack & Release. Mayfield played backup to Key’s frontman Dan Auerbach, and gave a preview of the magic these two conjure when they collaborate. With Auerbach producing and providing many of the instruments, they recorded the album over a two-year period at his home studio in Akron.

Musically Mayfield touches on a mixture of folk, country, and blues. She sings like Mazzy Star while her vocals come close to the Cat Power level on the somber scale. However, from the first song it will be her lyrics tugging at your heartstrings. With songwriting this intense it is quite possible that she has suffered more heartbreak than anyone should at a mere 19-years-of-age.

Kicking off the first song, “Kiss Me Again,” she strums on her acoustic guitar and sings, “You got me where you want me, but I ain’t all there. My head is torn, my brain is fried, and I’m standing right here.” With that the drums and bass kick in, and it’s notable that her brother David Mayfield plays an upright bass for the album adding to the homegrown sense of the album.

Though Auerbach’s presence is heard and felt throughout the album, it is most strongly evident on “I Can’t Lie To You, Love.” His wailing guitar bleeds into the track as the perfect backdrop for Mayfield’s crooning. It’s a great companion to their duet on The Black Keys’ album; both songs about realizing that your significant other no longer finds you so significant. And if you needed another example of the pain found in her lyrics, look no further than the chorus of this song: “But I can’t lie to you, love. And I can’t lift my head up. And I can’t sleep knowing you want nothing to do with me.”

Even when it isn’t all heartbreak, as with “I’m Not Lonely Anymore” and “The One That I Love Best,” the songs still take a melancholy tone making you wonder if Mayfield is even capable of feeling any sense of happiness. At least for one song Mayfield takes a turn to address the end of a different type of relationship, this being the loss of faith on the track “Bible Days.” The album takes its title from this song in which she questions a god that tests so mercilessly.

It’s hard to get excited over an album so rooted in sadness, but Jessica Lea Mayfield proves on With Blasphemy So Heartfelt that she has the songwriting skill and soul power that could one day match the aforementioned Chan Marshall. After all the crying is over we have been treated to a more than solid debut, that despite it’s mood never becomes boring or trite. We actually feel and care for Mayfield’s words; something that every singer/songwriters attempts, but at which so many fail. That in itself is a major accomplishment.

Highlight Track: “I Can’t Lie To You, Love”
Rating: 8 /10

THIS REVIEW WAS FIRST PUBLISHED ON STEREO SUBVERSION.

Cat Power @ Stubb's, 10.11.08

On October 27, 2007 my little red Honda was packed with one large pink luggage bag of clothes and one box of mostly poetry books. Those were the only belongings making the journey with me from Pennsylvania to Texas as I went to excavate a new life for myself. I was also armed with new road music for the trip. Two of those albums were from Cat Power, Dear Sir and What Would the Community Think–two of her earlier ones that I hadn’t entirely heard before. Cat Power basically became the soundtrack as I dove alone halfway across the country; the music of my rebirth. Whether it was listening to somber songs like “King Rides By” through the Georgia countryside or making my way across the New Orleans swamplands to angry ones like “Yesterday is Here,” I was filled with hope and optimism knowing that this trip was the best thing for me. Even though I had quit a promising job and left behind all else that I owned, I was certain that this venture would ease the growing frustration that took over my life. On the outside it looked crazy–moving to a city where I didn’t know anyone, a city where I had no place to live or a job waiting. But I didn’t see those things driving through the Texas desert to Austin. As Cat Power’s music blared out of my car stereo all I saw was the prospect of new opportunity. All I saw was beauty.

352 days after I arrived in Austin Chan Marshall (the woman behind Cat Power) walked onto the Stubb’s outside stage and she was all smiles. She waved to the crowd and even shook hands with those at the front. There was a certain confidence about her, something that made her glow and told us that she wasn’t afraid to be standing there. Gone was the shadow of suicidal depression and alcohol abuse. This was the new and improved Cat Power. Even the opening song “I Don’t Blame You” took on a new tone. Now backed by the Dirty Delta Blues Band, the tale of a rock star doomed by fame was transformed from a song of mourning to a more soulful uplifting one of tribute. The best representation of how Cat Power has changed can be heard in the version of “Metal Heart” that appears on the latest album Jukebox. And the performance portrayed that as well. While the original cogitates being restricted by a metal heart, the new version represents the unlocking and being free from it. Seeing Chan reach to the crowd and belting, “Metal heart, you’re not worth a thing,” it couldn’t be any clearer.

From there Chan went into “Song to Bobby.” As the title suggests it’s an ode to Bob Dylan, someone she draws a tremendous influence from. It was fitting that I be there at that time to hear her perform this song. Chan Marshall has become my Dylan. Though the struggle of my first year in here I've been able to throw on any Cat Power album and remember all the hope and optimism that I felt when driving to Austin. I could remind myself that this trip was a necessary step in my evolution. For the last year Chan’s music has constantly replaced my doubts with feelings of pride.

It’s odd that I am able to find strength in Cat Power when those early albums are so somber. Even for this show at Stubb’s Chan ops to focuses on the latest release and clear of older material. Besides the opening song, she only digs as far back as 2006’s The Greatest. About halfway into the show Chan’s collaborator for that album, memphis soul legend Tennie Hodges, joined the Dirty Delta Blues as they perform several songs off it, including “Lived in Bars” and the title track. There was no “Nude as the News” that night, a signature song which was a standard in her live performance; only reassuring that Chan is not revisiting those painful times and living for the present.

The show closed with “Angelitos Negros,” a Roberta Flack cover off the deluxe edition of Jukebox. Sung entirely in Spanish, even Chan had to look at a lyrics sheet to make it through. Nonetheless, it was a beautiful moment to see a piece of her personality on a song that features one of her most amazing vocal performances. There was time when a Cat Power show could not be completed without a manic tangent and Chan bursting into tears. But this one ended with a shower of flowers as she threw carnations into the crowd.

One of these days I would like to meet Ms. Marshall and share my story with her. Let her know what her music means to me. Maybe when she is comfortable enough with herself that she’s able to meet and greet fans, and doesn’t just rush to the tour bus afterword. Obviously there are still some things that she’s working through. Hell, I still worry about how I’m going to make my rent from month to month. But what is life without some struggle? It’s meaningless. And at the end of every personal struggle there lies a beauty. It was on stage that night at Stubb’s.


PHOTOS ARE COURTOSY OF THOSE AT ULTRA8201.

My 3 Favorite Cat Power Albums

Finally The Cat Power has come back to Austin!!!

Well, she will be in Austin. Chan Marshall and her Dirty Delta Blues Band come to town this Saturday (10/11) for the first time since last year’s Fun Fun Fun Fest. The more than just slightly pretty Chan (pronounced ‘shawn’) will play Stubb’s, making up for a show that was originally scheduled back in April but cancelled due to damage of her vocal cords.

After several months of rest she’s back in action promoting her latest release and second covers album Jukebox, while also building hype for an EP of outtakes from those studio sessions due in December. With eight albums and thirteen years in the business Chan has gone from grunge to minimalist to full-band southern soul, continuously evolving her sound and earning a reputation for being one of the most gifted and consistently excellent singer/songwriters today. Not to mention one of my personal favorites.

So in anticipation of Saturday’s show I am providing a little retrospect on Cat Power by briefly discussing my favorite albums in her catalog. Though it is remarkably hard for me to rank all her releases based on my liking, I can say that these particular three are definitely my favorites so far... Countdown style...

3. Are You Free (2003)

This release now stands as a bridge between Chan's minimalist phase and her current full band sound.  It offers a little from both sides, while dealing with ideas of personal freedom and being free. It begins with the track "I Don't Blame You," a storytelling song of a doomed rock star rumored to be about Kurt Cobain, but could also parallel Chan's pending breakdown and growing alcohol problems.  "Speak for Me" and "He War" are a transition to more upbeat territory which at the time was a new avenue for Chan's music. Furthermore, she is even able to make Eddie Vedder sound cool on their closing duet "Evolution." And Chan deserves all the recognition in the world just for pulling off that tremendous feat.  

2. Dear Sir (1995)
The Chan Marshall that we heard on her first album was a much grungier version, but no less honest as a songwriter or gritty of a singer. Even back then her vocals sound like the embodiment of suicide. Recorded with Steve Shelley of Sonic Youth and Tim Foljahn of Two Dollar Guitar, the instrumentation behind Chan is as dominant as the vocals. The screeching guitars battle her voice for superiority leading to a beautiful balance of noise where both pull you into each song. It features some of Cat Power's loudest most in-your-face material. Listening to "The Sleepwalker" should make you pull out an old flannel, some baggy ripped jeans, and have you staring at your shoes.  Dear Sir is arguably the most underrated and overlooked album to come out of the early 90’s grunge movement.

1. The Covers Record (2000)

Usually cover albums are throwaways that artists use to buy time or meet contractual agreements; they're really not meant to be spectacular. But Chan must not have realized that because The Covers Record is a career defining moment. Never one to shy away from recording other people's material (every pervious album included one or more cover tracks), Chan decides to deconstruct and then reconstruct songs to a point where they are almost unrecognizable from the original.  For instance, The Rolling Stones' "Satisfaction" becomes a quiet whisper of a song and she is able to fill "Wild is the Wind" with more pain than even Nina Simone could muster. It was this that made Chan Marshall a master in the art of covering others. At the risk of sounding too cliche, a Cat Power remake truly breathes new life into the original. For this reason The Covers Record is a milestone in music that should be admired for years to come.  

Sybris & The Kills @ ACL (AT&T Blue Room Stage), 9.28.08

It was good to see there were Sybris fans in attendance at ACL Fest, evident by the uncoerced joining in of synchronized claps during the bands performance of “Burnout Babies.” The grunge quartet from Chicago released their sophomore album Into the Trees earlier this year to critical acclaim in the indie world and has further established their self as the band that sounds most like Sonic Youth since…well Sonic Youth. Lead by the fiery Angela Mullenhour on vocals, Sybris (pronounced ‘sib-ris’) gave a haunting rendition of the standout track “Something About a Dark Horse or Whatever,” and reached back to their debut to close out with “The Best Day Ever in History.”

Next up on the Blue Room Stage were The Kills, who are having a career-changing year. Their latest album Midnight Boom gained praise in every major music publication and helped them score a high profile position opening for The Raconteurs on tour. This performance was however very odd. After beginning with “U.R.A. Fever,” Allison “VV” Mosshart took a minute to scuttle to the side of the stage where she appeared to vomit. Returning, she blamed the heat for her lackluster energy but it was very evident that she was nursing what looked like the hangover from hell. Mosshart, who normally lights up the stage live, toned it down staying toward the shaded rear of the stage a majority of the time and left her partner Jamie “Hotel” Hince in front to carry most of the weight.

Doing the best they could in the situation, the duo hit great songs like “Sour Cherry,” “Now Wow,” and “Cheap and Cheerful.” But it proved to be too much for Mosshart who at one point had to sit down and have a stagehand attend to her between songs. She pushed through their closing number “Fried My Little Brains” and rushed off as Hince again blamed the 95-degree weather and commented, “This is bullshit. Come see us when it’s dark out.”

In hindsight, the strange performance was not just a result of the heat or a hangover. Later in the week it was announced that The Kills arrived in Austin that weekend and faced the mysterious disappearance of their tour bus and bus driver. It’s an unlucky snag on the road of an incredible year for The Kills, but they will undoubtedly snap back and push on much like they dealt with the Texas sun.

Grand Ole Party @ Mohawk, 9.27.08

With all the official ACL After Parties going on during the festival, it was easy to overlook the other great bands that were in town to play that weekend. It was even easier to overlook that Grand Ole Party was doing a rock star move by playing two shows in one night on that Saturday. The first being an opening spot for Sunset Rubdown at Mohawk, and the second was a late nighter at Beauty Bar.

The three-piece band from San Diego is riding the wave from their 2007 debut album Humanimals, which was produced by Rilo Kiley’s Blake Sennett and helped them win “Best Alternative Band” at the San Diego Music Awards. Having visited a year ago while on tour with Rilo Kiley and playing several shows during SXSW '08, they are no strangers to Austin.

The unique band construction puts Kristen Gundred on lead vocals and drums, resulting in a rarely seen setup on stage. Gundred’s drums are placed front and center with guitarist John Paul Labno and bassist Michael Krechnyak to each of her sides. They were immediately able to grab the Mohawk crowd with their funk-punk style. However, the appeal of the group undoubtedly sits with Gundred. Yes her pinup Dita Von Teese-like beauty garners a lot of attention, but it’s her distinct vocal sound that truly wins over audiences. She sings like Karen O injected with the power of Janis Joplin, all the while controlling the band by playing drums at the same time.

The crowd was treated to the best songs off Humanimals– like “Look Out Young Son,” “INSANE,” and “Nasty Habits”–and even got the rarity “Next Day Nightmare” which can be found on their Daytrotter Session. Unfortunately their set was short, as they had to pass the stage off to Sunset Rubdown and rush off to Beauty Bar for gig #2 of the night. Hopefully Grand Ole Party will return to Austin in the near future; with an expanding fan-base and growing media attention, they are definitely one to keep your eye on.