Something Like Sound

I have often expressed my appreciation for music-session-blog Daytrotter. They’ve done what I could only imagine doing: recording the best up-and-coming artists from a wide swath of the modern independent music using old-fashioned full-band recording techniques.

Yesterday’s session features 6 songs (available for free download, just click on the photo above) from former Hot Water Music singer Chuck Ragan. Earlier this summer we had the chance to see Chuck open for Lucero at the Bluebird, and as I remember Chuck gave one of the most intense folk performances I’ve ever seen.

I thought I’d also take the time to share some of my other favorite Daytrotter sessions here too. Click on the images to go the respective sessions.

Introduction:
Andrew Bird is a man of many talents. As a multi-instrumentalist, Bird was trained in the Suzuki method and later graduated from Northwestern University with a degree in violin performance. Don’t get frightened by his resume, Bird’s newest release Noble Beast is an accessible pop record with beautiful composition and a unique sound. A master of all things musical, Bird himself provides violin, guitar, and whistling parts throughout the album. Furthermore, for those who might want to hear the more experimental size of Bird, the deluxe version of the album comes with an hour-long instrumental bonus disc titled Useless Creatures.

Memorable Song:
It is hard to identify one song that should earn this title (since about five tracks are really memorable), but “Fitz and the Dizzyspells” stands out. A mixture of warbling whistle, vibrant violin, and driven drums, this song typifies Bird’s upbeat style and straightforward songwriting. Perhaps just as memorable is the opening track “Oh No,” a song that personally makes me question my whistling ability in light of Bird’s performance.

Forgettable Song:
“Unfolding Fans,” a one-minute long track is forgettable in that it simply exists as a fill between two longer tracks. Perhaps this is the place to talk about the fact that this is really a record that should be listened to as a whole. Interludes, such as this track, serve to tie the entire listening experience together and create a unique record.

Final Thoughts:
Andrew Bird may not be the best known singer/songwriter out there, but he is certainly one of the more talented people doing music today. Having missed his recent concert at the Ogden Theater, I am excited to see him this summer as he will open for Death Cab For Cutie on their upcoming tour.

Watch “Anonanimal” here!

5 years ago I did not like Death Cab For Cutie. The few songs I’d heard on Clearchannel radio stations always managed to leave a bitter taste in my mouth. I thought Ben Gibbard’s vocals were too nasally and high-pitched. That is, until I started watching a television program on PBS called “Austin City Limits.” Playing cuts from their 2005 album Plans, I began to fall in love with the Seattle group’s distinct sound. A mesh of melody, harmony, instrumentation, and catchy lyrics, Death Cab fever began to set in.

In 2008, during the Democratic National Convention here in Denver, I got my first chance to see Gibbard and Walla perform. It was amazing! Armed with 2 acoustic guitars and a baby grand piano, they cut through the political tensions with tune after tune, performed with beautiful simplicity. I knew then that this was one of my favorite groups.

Fast forward to the present day. Death Cab is prepping a new release of some b-sides from their 2008 full length Narrow Stairs and has been debuting tracks on Stereogum (links below). In addition to that, they’re going on tour (again). Last year I missed their performance at Red Rocks because 1: I was out of town and 2: I didn’t have any money. Well, I wasn’t about to let the same thing happen again, so last week I spent my $50 to get a ticket to what will likely be one of the best shows of the year (even though it’s not going down until July). Furthermore, my other current favorites Andrew Bird and Ra Ra Riot are playing. It will surely be an amazing night.

In a music scene filled to the brim with singer/songwriters who experiment with new sounds, Andrew Bird stands out for his straightforward style. Some critics placed Bird’s 2007 release Armchair Apocrypha on their top ten lists, a good reason to give it a listen.

Armchair Apocrypha begins with “Fiery Crash,” an up-tempo number with energetic, slightly-distorted guitars, and Bird’s subtle voice. “Imitosis” follows, but shifts into a European mix of strings and classical instruments, surrounded by slow Latin beats. Andrew Bird refuses to be categorized as he pushes into the deep middle part of the album. “Heretics” through “Armchairs” sound like a conglomeration of The Shins, Coldplay, and Wilco, but Bird still adds a component that is entirely original.

Radiohead-esque rhythms and falsetto vocals appear on “Simple X.” The last part of the record is heralded by “The Supine,” a baroque mix of violin plucking, cellos, and acoustic guitar. “Cataracts” follows and maintains an incredibly stripped down sound. The album ends on an instrumental note with “Yawny At The Apocalypse,” a mix of recordings of wild birds, along with a constant background of cello, ending on a natural tone.

As far as lyrical content is concerned, Bird focuses on traditional folk concepts. Many of the songs sound like conversations tempered with poetry. There are no overly catchy choruses on this CD, however this can be seen as a plus. This is not the type of music you would expect to hear on a top 40 pop radio station. Taken all together, the disc has a timeless quality, heard through Bird’s lyrics and choice of instrumentation. This album is a refreshing listen for fans of more traditional modern folk-indie because Bird remains true to using natural sounds while avoiding too much experimentation.