review by Jim Beckmann
photos by Ron Henry

It seems like everyone has been watching Ryan Adams lately with a morbid anticipation, expecting that at some point during his rigorous tour schedule he’ll break down, melt down, or just go batshit insane — and if it were going to happen, many thought it would likely occur during the recent leg of the Easy Tiger tour (or is it the Follow the Lights EP tour?) for which he’s playing 10 out of 15 days (oh, wait, another was added for tonight!). Yes, the man is beyond prolific and surely that, in and of itself, would be cause for anyone to eventually come to a complete halt. But there’s also his past history of onstage tantrums, walkoffs, and arguments with the audience — and of course his admitted drug use. Last Saturday at the beautiful Paramount Theater in Seattle, Ryan Adams did not meet the speculation of some and self-implode. In fact, he’d rarely seemed more in tune and in place as an artist.

Before the show in the band room, it was evident from the already filled crowd, who snapped pictures of each other in the aisles and in front of the silhouetted cacti on the twilight-lit stage, that this was a long-awaited experience. For me it was the first time finally seeing Adams, and not for my lack of trying — his previous performance from last year was called off after I had acquired tickets. One of my co-workers echoed the same sentiments so many others had, saying she was worried she would never get a chance to see him live (read: alive). But Adams, now nearly two years sober, not only began his set right on time (lights dimmed at exactly 8PM by my mark), but was also wandering outside the venue previous to the show with video camera in hand, filming subjects for the next of his videos, which he posts, as prolifically as he creates music, under the guise Horion74.

The early start only served to give Ryan Adams and The Cardinals much more time to perform. “We’re going until curfew,” he said after one of his characteristic diversions, both assuring and worrying the crowd, who perhaps wondered how long they could sit until their bladders exploded (or maybe that was just me). At well over two hours total time, the two sets, with no encore, spanned a range of material, from the very new to classics from Heartbreaker. Throughout, Adams tried to share the (virtual) spotlight on stage by constantly referring to the band as “The Cardinals” — pointedly dropping the presumably label-insisted “Ryan Adams &” prefix — and including a solo song in the setlist from the most well known Cardinal, Neal Casal, and revealing that the next album will be in different voices and written by different members.

While a significant part of his stage banter pertained to his sobriety, Adams’ performance was far from unreasonably restrained, and the combination of his leopard print platform shoes, inner-ear disorder, and current illness kept him off-balance and off-script — so much so, in fact, that a few on the Ryan Adams Archive message boards disbelieved his sobriety, to which Adams himself, under the moniker “WolfHunter,” slapped down such slander, citing his condition and claiming, “i was born a wild soul,” before adding a warning to the haters, “do not do MY accounting for me dude. i will melt you.” No, sobriety hasn’t changed the extent to which Ryan Adams puts himself out there. As demonstrated on stage, behind the camera, and on the forum, he certainly has not lost that spark big bang of creativity.

But it wasn’t the naysayers whose faces were melted that night. The crowd at the Paramount was treated to an opening 15 minutes of psychedelic and sometimes sludge drenched versions of “Bartering Lines” and “Peaceful Valley,” which eventually led into the smoother sounds of “Mockingbird” and “Rescue Blues.” Up to that point, Adams had barely spoken, and I was worried that this might be a repeat of one of his early Seattle appearances, which I’m glad to have opted out of, when he barely spoke to the audience at all. But no — he was just warming up! After the first six songs, he launched into commentary on the spiffiness of the crowd, his own fevered state, and mentioned how he might be in need of some therapy. Just after the next song, he marveled at the fulfillment of his random request for Squirt (thanks to Robbie, the guitar tech), made a derogatory slam on the “creepy” Mindfreak guy, and then responded to a potential retribution, “What’s he going to do, make me disappear? I tried for ten years to make myself disappear. Trust me, if what I was paying for couldn’t do it, he can’t.” Other banter, with the band and with the audience, filled both sets, and Adams only half apologized during a particularly lengthy tangent that included speculation of Dean Martin’s possible alcohol-induced inabilities, saying, “I like sharing with you. I think it humanizes the concert experience” before launching back into a crowd favorite, “Oh My Sweet Carolina.”

Particular standouts include his arguably better than the original “Wonderwall” (yes, I said it!), a slower and more plaintive version of Easy Tiger’s “Halloweenhead,” and the Alice in Chains cover, “Down In A Hole.” Afterwards, in the lobby, friends and strangers compared notes or just walked out stunned after the sonic bliss of show closer “Easy Plateau.” New fans were formed, like the couple beside me, who had purchased tickets on a whim, not ever having actually heard a single Ryan Adams song, and who were already considering their first album purchases. The rest of us breathed a sigh of relief — not because we necessarily expected him to freak out or implode, but rather because we witnessed a man who had worn a storm and who seemed — while not exactly healthier — somehow stronger than before. It was a truly transformative experience.

Here’s the video, shot with full audience participation:

Despite being the creators of one of the most infectious, earworm-worthy songs of the 90s (and probably being considered by most to be the epitome of the one-hit wonder), the British band Chumbawamba has a long history as a radical, anarchist musical collective, and have released close to 20 albums in their 20+ year career. I was looking through the record shelves, and the cover of 1994’s Anarchy jumped out at me — but not in a good way at all (I’ll let you find that yourselves on the web to figure out why). In the interest of keeping this blog as Safe for Work as possible, I moved on to 1990’s Slap!, which boasted a much more family-friendly cover as well as much more heated debate. Here we go, starting with the haters on the right:

The following five quotes are all from the same label, and it’s very hard to determine who’s responding to whom or what they’re talking about…

With such an eloquent champion in its corner, it does appear (based on some other comments) that the powers that were gave Slap! a chance, and slotted it in heavy rotation, at least for a time. Sometimes the good guys do win. Hopefully the band came back to Seattle again so the people who used to hate them could see what they’d been missing.

MGMT at Echoplex, LA 1/26/08
photo by Mary Kim

Every Monday through Friday, we deliver a different song as part our Song of the Day podcast subscription. This podcast features exclusive KEXP in-studio performances, unreleased songs, and recordings from independent artists that our DJs think you should hear. Today’s featured selection, chosen by Midday Show host Cheryl Waters, is Kids by MGMT, from the 2008 album Oracular Spectacular on Columbia.

Andrew Vanwyngarden, half of this Brooklyn via Connecticut duo, has said We make pop music, but pop music that isn’t comfortable. But I beg to differ, as I think Columbia Records must have done in signing these young upstarts. Oracular Spectacular, produced by the sound magician of Flaming Lips fame, Dave Fridmann, is another modern throwback to psychedelic rock, this time to Bowie and the ’70s era. Their traditional rock instrumentation combined with spacey synths has made their debut a hit with hipsters on and off the dancefloor. If anything comes off as remotely uncomfortable, it’s the lyrics, ranging from a parody rock sensationalism (Time to Pretend) to the apocalypse (Future Reflections), none of which can overtake the bouncy, whimsical feel Fridmann injects from behind the boards. MGMT (which by the way is pronounced “M-G-M-T” and not “management” as many people insist) perform in our studio @1PM today and will support Yeasayer and Black Mountain @ Neumo’s this evening. Be there or… I don’t know, just get there. Out-of-towners can check out the band’s MySpace page for other tour dates and enjoy this video of MGMT dressed as Hobbits on the David Letterman Show:

Hi, I’m Michele Myers. Every Friday night at 9pm I spin a show on KEXP called Nite Life. I hope you can swing by for some danceable sets while you’re getting ready to go out (or are hanging at home just wanting to FEEL like you’re going out). And every week at 12 o’clock I do a Midnight Album Feature. This Friday night, I’ll bring you tracks and stories from the second album by Tom Waits, The Heart of Saturday Night.

The album opens with “New Coat of Paint,” a bluesy piano jazz song that shows Tom is at the top of his singing game. I love the lyrics. They show Tom Wait’s talent for painting visuals with words. Check it out.

Not only is this 1974 record considered by many to be Tom’s best work (Rolling Stone Magazine voted it #339 in the most important 500 albums of all time), but this release is a great record to initiate new listeners to the dark, jazzy, twisted, literary world that Tom inhabits. (Insert evil laugh here.) It’s songs are a bit more melodically smooth throughout, and his voice is wonderfully ragged and (I think) undeniably beautiful.

Right now I’m reading the book Innocent When You Dream, a collection of articles and stories on Tom Waits. In the book, Tom cites the word/jazz poet Ken Nordine as one of his main influences for his spoken word songs. Tom also says that the collaboration between poet Jack Kerouac and jazz piano player Steve Allen, Poetry for the Beat Generation is his favorite album. Friday night during this feature I’ll play you a song from both Ken Nordine and Kerouac/Allen!

The talking song on this record, “Diamonds On My Windshield,” is one of the finest rainy day songs ever… For a DJ in Seattle, having a range of rainy day songs in your set list is pretty much a requirement. My other favorite rain songs are Morphine’s (live version of) “You Look Like Rain,” Jimi Hendrix’s “Rainy Day, Dream Away,” and Beta Band’s “Dry The Rain.”

When you tune into my show, you’ll hear Tom Waits a lot. He has a calibrating effect on me. He just feels right. Rain or no rain.

Join DJ Michele Myers for Nite Life every Friday night at 9pm on KEXP.

photo by Gregory A. Perez

Sera Cahoone’s much lauded, self-titled debut seemingly came out of nowhere. As she was known primarily as the drummer for Carissa’s Wierd and Band of Horses, it’s not likely that many folks knew Cahoone was a songwriter as well — until her songs started showing up on the radio. That first record’s laid back charm and countrifed twang immediately won her a large following, not to mention a slew of music writers who took to championing the album. NPR chose it as one of it’s “Top 10 CDs of 2006″ — over some damn formidable competition.

Saying that many folks have been looking forward to Sera’s sophomore release is an understatement. She has a fan base the world over now, and everyone who loved the debut album has been clamoring for more. Now signed to Sub Pop, Cahoone’s second album is finally on the horizon. Titled Only As the Day Is Long, it’ll be out in March, and KEXP is honored to offer a peek at the contents. Here’s the title track:

Take a listen (or two, or three) as we talk to Sera about the making of this new CD.

What was it like writing and recording this new record? Suddenly, there was pressure, knowing this time there are expectations, and so many folks waiting to hear it.

The whole process was a lot different. I have a band now, and we were going in to record all at once, which I didn’t do before. At times I did have some freakouts, thinking that people will hate this. But I finally just said “fuck it, if people like it, they like it, and if they hate it — well, ok.” After that, the songs started becoming much more clear, the way they should.

I get the impression your first record was very casual, just kind of recording to see what happens and playing it by ear. Is that the way it was, or were you looking at it as the beginning of — hopefully — a “solo career”?

No way. I was completely shocked. After I recorded my first record, I sent a copy to John in the Morning, having no expectations other than I thought it would be great if he played it on Audioasis. Then one morning I got a call from a friend telling me to turn on the radio, and that I was on KEXP. I remember that morning — I was so excited. It was very strange. From then on they started playing my record more, and people were emailing me asking how they could get the CD.

Well, I had no idea how to get my CD either! I had no art for it, no ideas about that. I was so not ready for what happened. But it pushed me to get it done, and get it out there. I’m so appreciative to John and KEXP — without them, I feel like no one would know, or care, who the hell I am.

I don’t have a copy of Only As the Day Is Long — they are closely guarded by Sub Pop, I expect! So, I’ve only heard the title track and haven’t read any of the liner notes. Did you play any drums this time? And is it the same cast that made the first record?

I did end up playing drums on one song. But this time, I wanted to go into the studio with a band. I wanted to get another drummer’s perspective, and my band’s thoughts and ideas. Jason Kardong and Jeff Fielder, who played on the first record, are on this one as well. They both have such a huge impact on how the songs move.

Now that it’s finished, how does Only As The Day Is Long sound to you, as compared to the first record?

The new record definitely has a different feel. It’s a bit more upbeat, and has a bigger sound to it. But Zack Reinig, who recorded the last record, did this one as well, so it has some similarities. We both wanted to make sure to keep some of that rawness the first record had to it.

It was nice to have a bit more time in the studio for this one. The first record was recorded in 4 days. I was running around like a maniac, recording the guitar part, running back to play the drums, running to do the vocals. While I did enjoy recording that record a lot, it was nice to have a little more time.

Tour plans?
Nothing booked at the moment, but I want to tour a bunch.

On an unrelated note, looking back at your time with Carissa’s Wierd and Band of Horses… which songs stand out to you, are real personal favorites?

They’re both such amazing songwriters. It’s impossible for me to pick one song.

review by Eric Mahollitz
photos by Ron Henry

Club Pop!, a regular installment and all-ages event at Chop Suey, is always a sight to see. The night often begins with a DJ set while the dance floor grows with a younger crowd who come dressed to express and impress. Eventually, the bar and dance floor fill to abundant yet comfortable capacity, while folks grow sweaty and eager for the main acts to appear, as in the past VHS or Beta, Walter Meego, and Tim Sweeney of DFA have been.

Last Saturday, when the DJ-ing stopped and L.A. quartet HEALTH began their soundcheck, usually an occurrence that garners little attention from most crowds, an obvious change took place in the room. Drummer Benjamin Miller drew all eyes with his long hair, thick goatee and stocky build, and even his simple preparations were enough to grab everyone’s attention. The set started with abrupt and spaced-out drum hits anyone familiar with their self-titled album is used to, a maneuver that manages the sudden and sporadic transitions between tribal percussive flourishes and segments of synth-laden noise rock. Any attempts to upstage Miller’s drumming would have been fruitless, but the other three members gave it a go. The guitar playing proved to be one of the greatest reasons why people pick up guitars in the first place — each strum occurring as though a pulse through the player’s body, requiring every ounce of energy to create the dissonant but somehow toe-tapping sounds. And that is what ruled over HEALTH’s set. The progressions and changes were so well handled by the collective that the eerie monotone howls and disturbed synths were not enough to shock but more than enough to compel. A big part of the changes in sound also had to do with the lead vocalist’s use of dual microphones, one producing the pleasant yet foreboding psychedelia and the other giving rise to unyielding screams. The set was short, but as evidenced by their uninterrupted album, they have no qualms with chugging through a lot of songs in a short period of time. And without the use of visuals, their performance created a lasting image of an up-and-coming band worth every positive word I can spare.

Headliner White Williams took the stage after a short DJ interlude to add some laid back new wave to the mix of dance music played throughout the night. Behind him, visuals were projected, depicting an art house film full of slashers, transvestites and an unexpected masturbatory scene — this from a guy who used to perform from behind a screen and not in front of one. Williams’ band, appearing as if from the era of which their inspiration comes, wasted no time jumping into hot tracks from the recent album Smoke like Headlines, In the Club and New Violence. with his close-cropped hair and skinny frame, Williams looked like a young though less dramatic David Byrne, leading his band through the progression of the album. Stage antics were kept to a minimum during the straight forward performance, but the ’80s MTV music video dance moves were in full effect. The new wave art-rock of the opening numbers launched into a new wave/disco hybrid that took the floor from head nodding to booty shaking. Perhaps that’s just what Williams wants as he becomes more comfortable being stage center — to give the visual folks entertainment at the rear of the stage and to let the people in the pit dance their socks off. Either way, it appeared from his performance that he’ll be getting a lot of attention in the foreseeable future.

Put simply, the evening could be summed up as an everyman’s dance-a-thon where no matter what dance god the attendants prayed to, their call was answered. Looking ahead, White Williams (MySpace) is touring the states for the next couple of weeks while HEALTH (MySpace) appears to be touring for the rest of their lives. HEALTH has already confirmed that they’ll return to Chop Suey on March 6 with Crystal Castles.

For a taste, here’s a remix from HEALTH’s “Crimewave” as done by Crystal Castles:

and video footage of White Williams performing “The Shadow” that night:

One reason to love KEXP is for our many in-studios. In 2007, KEXP featured over 400 in-studio guests. Already, it seems that 2008 is going to be huge! Yesterday, we hosted three bands — The Helio Sequence, the Campbell Brothers, and Orgone — and today we have Nada Surf at noon.

Be sure to check out these photos from yesterday (click the photos to view the slideshows):

The Helio Sequence — photos by Chona Kasinger

The Campbell Brothers — photos by Jim Beckmann

Orgone — photos by Ron Henry

Tomorrow, MGMT will be live at 1PM and on Friday, Black Mountain also at 1PM.

Remember, you can go back to listen to recent in-studios on our 14-day Streaming Archive

The Helio Sequence in-studio, celebrating their CD release today
photo by Chona Kasinger

Got any of that holiday cash still lying around? If you haven’t cashed Aunt Edith’s check yet, now’s the time ’cause this week’s new releases are not to be missed. If you’ve been listening to KEXP at all, or downloading our podcasts, you’re sure to have heard many of these bands: Vampire Weekend, Thao and the Get Down Stay Down, The Shackeltons, Yoav, and Xiu Xiu. From the Northwest come two fantastic releases from The Helio Sequence and Chris Walla. Also, relative old-timers Willie Nelson and Joe Jackson have new albums as well, and look for the deluxe edition of Beck’s Odelay. Check Largehearted Boy’s list of interesting new releases and give these a test spin before heading out to your local record shop:

The Bell - Do You Know How To Feel (MP3)
from Make Some Quiet on Badman Recording Co.

Blind Boys of Alabama - Free At Last
from Down in New Orleans on Time Life

The Helio Sequence - Keep Your Eyes Ahead (MP3)
from Keep Your Eyes Ahead on Sub Pop

Human Bell - The Singing Tree (MP3)
from Human Bell on Thrill Jockey

Ida - Lovers Prayers (MP3)
from Lovers Prayers on Polyvinyl

Joe Jackson - Invisible Man (MP3)
from Rain on Ryko

Jeffrey Lewis - End Result (MP3)
from 12 Crass Songs on Rough Trade

Louis XIV - Guilt By Association
from Slick Dogs and Ponies on Atlantic

Robert Pollard - Love Your Spaceman (MP3)
from Superman Was A Rocker on Happy Jack Rock Records

Radar Bros. - Warm Rising Sun (MP3)
from Auditorium on Merge

The Shackeltons - Your Movement (MP3)
from The Shackeltons on Loveless Records

SSM - Déjà vu (MP3)
from Break Your Arm for Evolution on Alive Energy

Thao with the Get Down Stay Down - Beat (Health, Life and Fire) (MP3)
from We Brave Bee Stings and All on Kill Rock Stars

Vampire Weekend - A-Punk (MP3)
from Vampire Weekend on XL

Chris Walla - Sing Again (MP3)
from Field Manual on Barsuk

Xiu Xiu - Do What I Want, When I Want (MP3)
from Women As Lovers on Kill Rock Stars

Yoav - Beautiful Lie (MP3) [thanks to Spinner]
from Charmed & Strange on Verve