That’s right, I don’t have Part II done yet. For now, enjoy the lovely folky tones of Sarah Negahdari‘s solo project, Pisces. She was really busy in 2012, with The Happy Hollows, Pisces—and oh yeah, a little bass-playing stint with Silversun Pickups. And I see that The Happy Hollows will have a new album out this year. But more about that soon.
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(top left to bottom): Nightmare Air, Malcolm Sosa and Kim Haden, Local Natives
Hello fellow Eastside L.A. enthusiasts. It’s been nearly a year since I’ve done this (February, to be exact), so it’s time. My rules for inclusion are as follows: the band has to have had something vaguely resembling an update within the past few months or some clear indication that they have not in fact broken up or gone into semi-hibernation.
By those standards, the following bands are “MIA” and presumed gone (if not, please let me know): Autolux, Death To Anders (but see below) and Just An Animal (formerly Red Cortez; see Harley Cortez and Calvin Love solo projects below).
I have also decided, after this update, to let go of those bands who have defected to Brooklyn (or other parts), but I will of course continue to cover my favorites separately. So without further ado >>
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For now, here are two albums I enjoyed in 2012.
In the interest of making a noble attempt to post daily, I’m reporting in to say that I’m currently working on my infamous “Eastside L.A. Roundup” for 2013. In the meantime, let me give you two bands who put out great albums in 2012—Edward Sharpe and the Magnetic Zeros and Silversun Pickups. Those links will take you to reviews I did on Ryan’s Smashing Life. That’s all for now, but stay tuned for much more.
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A last minute addition: The Magnetic Fields at Symphony Hall for First Night (last night)
It’s a good thing I held off posting this, because I’ve just made it an even dozen in honor of the year that just flew by, 2012. The last one? A band I had the immense pleasure of seeing for the first time, on First Night just last night at the majestic Symphony Hall. [Why do they call it “First Night”? Shouldn’t it be “Last Night”?]
I saw a total of 24 shows this year. Not a whole lot for a music blogger, but I’ll tell you—nearly all of them were spectacular. That’s damn good odds. I’ve heard some people say that 2012 was an awful year. What I’ll say, from my personal perspective, is this: 2012 was a year of massive challenges and difficulties, but the rewards, if you were prepared to step up, and I mean step up in a major way, were equally impressive. It was most definitely not a year for lightweights. But it’s all moving forward, and it’s moving forward quickly. Hold on to something sturdy, because I have a feeling 2013 is going to be just as intense. Remember, with challenge comes opportunity. Happy New Year, everyone.
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Now that all of the innocent victims have been sadly laid to rest, it’s time for me to weigh in on the Newtown shooting.
Before I launch into what may be an unpopular perspective on this tragedy, I say a quiet prayer for those whose lives were cut short, especially all the young children who weren’t even old enough to experience hostility, or to hold a grudge, or to feel the need to seek revenge for some perceived wrong. And I say a quiet prayer for all their innocent counterparts in other parts of the world, far removed from the suburbs of Connecticut. The children of Syria, caught up in a civil war; the Palestinian and Israeli children, the children of Mali, of Kenya and Darfur, of Pakistan and Afghanistan, Somalia and Iraq, caught in the crossfire of conflicts not of their making. The children in the inner cities of Boston, New York, Chicago, Detroit, Los Angeles… caught in the crossfire of gang violence, living in the parallel life of the ghetto in America’s third world. For in my heart, there is no distinction between American children and Muslim children and Israeli children and Palestinian children and African children. They are all children. Our children. The future of our species. All of them.
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It seems like only yesterday I was wandering around Copley Square wearing my 2012 glasses, taking in a spontaneous Hare Krishna First Night celebration and eating strange little packaged treats handed out by devotees. At that time, the long-anticipated, mysterious Mayan Prophesy was this curious notion still comfortably off in the distance. I decided on that heady evening that I would spend 2012 as if the prophesy were in fact true—that everything would end on December 21. We’re often told that we should always live our lives as if each day were to be our last. So, facing what may have been the final year of my life, or at least the last stretch before some sort of cataclysmic event, did I spend each waking moment in the most meaningful way possible? Did I push myself to the outer limits? Did I reach for the stars in terms of productivity and my search for enlightenment? No, not exactly.
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I’ve literally just discovered this wonderful little threesome that features brightly colored three-part harmonies, guitar, cello, melodica, drums—and sometimes glockenspiel and accordion. But just because I’m out of the loop doesn’t mean you have to be. You can head right over to the Middle East (downstairs) in Cambridge NOW and catch Pearl and the Beard live, as they’re performing tonight with Boston indie folk duo You Won’t and Brooklyn-based Lucius. If you’re seeing this after the fact, or you’re nowhere near Cambridge, Mass., have a listen and pick up their latest 4-track extended single The Prodigal Daughter.
Pearl and the Beard – “40K” by Girlie Action Media
Lucius – “Genevieve” by ilovelucius
Pearl and the Beard: web | facebook | twitter
You Won’t: web | facebook | twitter
Lucius: web | facebook | twitter
Nato Bardeen and Todd Eisenkerch of The Drowning Men
I had seen The Drowning Men on several occasions as support for The Airborne Toxic Event, mostly in larger venues. I had become so accustomed to seeing/hearing them take over the room and captive big crowds in a big space, that nothing quite prepared me for the sonic onslaught of that huge sound of theirs in the small confines of T.T. the Bear’s Place. This is a happy problem to have—being too good for a small venue. As Nato himself said, when headlining, they’re still a “small band,” though they sure as hell don’t sound like one.
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Org: Literati – a literature inspired performance
Thursday, November 8 at Club Oberon
2 Arrow Street (Harvard Square), Cambridge, MA
doors: 7:30pm, show at 8pm | 18+ | adv tickets: $20 seating, $15 standing / day of tickets: $20 standing, $25 seating | BUY TICKETS
It’s a special occasion tomorrow night at Club Oberon, as Singer Mali (of Jaggery) will be hosting a rare public Org. This time the theme is literature, and a fantastic line-up of performers in various disciplines—music, poetry and prose, dance, theatre, film—will be performing works inspired by writers “from Yeats to Genet to Dostoevsky.” Jaggery will also be celebrating the release of their EP Private Violence, which is inspired by Truman Capote’s In Cold Blood. The evening will be hosted by former English professor Mika Cooper—a nice touch.
Featured performers: Gem Club, What Time Is It, Mr. Fox?, Eileen Little, UnAmerika’s Sweetheart Karin Webb, Jennifer Hicks, Jaggery and live artist Kristilyn Stevenson.
It is suggested that you come dressed as your favorite literary character, and that you bring a copy of your favorite book that you’re willing to part with.
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photo by Gerhard Eichler
I’ve been completely remiss in covering this amazing show. Even at this late date, I must say a few words about the Malian Tuareg-Berber musicians, Tinariwen, who performed at the Paradise Rock Club a few weeks ago. I had first become interested in Tinariwen after hearing about the recent conflict in Mali. I read a little about their history and the strong musical heritage in that region of the world. Through the struggle and perseverance of a people trying to preserve their roots, it is a culture that has inspired musicians such as Ali Farka Touré and Amadou & Mariam. Tinariwen was formed in Libyan refugee camps after the members had fled their war-torn homeland of Mali. Their sound, while strongly influenced by the guitar-based rock of Western artists such as Jimi Hendrix and Carlos Santana, has deep roots in Malian traditional music.
photo by Gerhard Eichler
At the Paradise, performing in their traditional dress of the Sahara Desert area of Mali and singing in the Tamashek language of the region, Tinariwen very quickly brought the audience under their spell. The instrumentation was simple—acoustic and electric guitars, bass, a single African drum and occasional flute. But the intricate weaving of music and vocals was deeply emotional and absolutely hypnotic. From the truly phenomenal guitar playing to the trance inducing drumming and audience clapping, and then the chant-like vocals, this was a religious experience of epic proportions. The singing is poignant in their native language, particularly if you’re aware of the heartfelt lyrics that are being sung. What struck me especially, knowing of their origins in refugee and military training camps in Libya and Algeria, is how incredibly soulful and, well, loving these guys were. They are so humble, so deeply appreciative of their audience, and put across such a feeling of peacefulness and warmth, that I was completely blown away. They had a deeply spiritual vibe and went off on such astonishing ‘space jams,’ it was like The Grateful Dead took a long trip through the Sahara Desert. Totally captivating. You do not miss these guys when they (hopefully) come around again.
photo by Gerhard Eichler
The Boston-based Atlas Soul, with their North African funk/jazz/rock/hip-hop, singing in multiple languages, were the perfect support for Tinariwen. They were also wonderful.
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