Live Review: Sufjan Stevens at Michael Fowler Centre, Wellington

Sufjan Stevens

w/ Dawn Landes

Michael Fowler Centre, Wellington

Monday 7 March 2016

The night commenced with Dawn Landes playing her first of three sets. A member of Stevens’ band, Landes previewed some of the talent that would follow by starting us off on her own material. She had a great voice, and proved adept on many different stringed instruments, chiefly guitar and piano. The highlight of the set was her song “Bodyguard”, which proved livelier than many of her other sweet sleepy songs.

A short break between acts allowed me to marvel at the Michael Fowler Centre. In these fickle times, more and more venues are closing, which isn’t helped by many building being deemed earthquake risks. This makes me question why the Michael Fowler Centre is underutilised as a live music venue, with its striking wooden panelling and great acoustics. It was certainly the perfect venue for this show.

Sufjan Stevens and his band put on one of the most impressive stage shows that I’ve seen in a while. The lights were brilliant, thoughtfully planned out to synchronise with parts of the set. From dazzling spotlights, to coloured beams, to the use of two disco balls, they really added to the mood, made obvious from the stage fog and smoke from the incense sticks onstage. Behind the band were 12 vertical screens, showing images of stunning scenery and clips of Stevens’ home videos from his childhood.

The set drew predominantly from Stevens’ most recent album Carrie and Lowell, save for two songs near the end that clearly didn’t fit in with the rest. It was a sombre affair, the album being named after Stevens’ parents, with a strong focus on death and mortality. His mother had more than her fair share of mental issues, and had died of cancer in 2012. At one point Stevens appeared to be overwhelmed by revisiting such a personal topics, drawing a sharp breath at the end of one song and covering his face.

The musicians were all incredible, all accomplished on a number of instruments. Most members ended up playing piano, synth, mandolin, ukulele throughout the course of the night, and most songs featured the most gorgeous three part harmonies. It was a lovely marriage of old and new, full of juxtaposition. Chimes and incense sat next to bright lights and Tron-like neon tape, and muddy distorted synthesisers let loose before tender piano breaks and recorder tunes.

Following a short break, the band returned for a second unplugged set, with all five band members crowding around one microphone. This was a more jovial affair, with the musicians showing a less professional, but more accessible side of them. Most of them had changed into brighter clothing backstage, and they appeared more relaxed. One funny moments involved a banjo string snapping whilst being tuned, prompting Stevens to forget the lyrics to his own song. Stevens hadn’t even talked to the crowd beforehand, but now was happy to talk banter and share some thoughts. He told some stories about his upbringing, being one of six children, with a gazillion pets. These stories brought levity to the until-then somewhat depressing tale of his parents.

From the mesmerising first set of Carrie and Lowell, to the lighter, stripped back second set of hits, Stevens’ and his band kept us spellbound. There was no shortage of talent, and the visuals complemented the music perfectly. They inevitably ended with their hit song “Chicago”, leaving everyone humming the refrain well into the night.

Joseph James

ALBUM REVIEW: CHRISTOFFER FRANZEN – WIDE AWAKE

I’ve always thought the act of sleeping to be somewhat of a strange occurrence. While essential to one’s health and wellbeing it still strikes an awkward chord in me, especially in the company of new acquaintances. Having toured and spent numerous nights positioning myself on a stranger’s floor, I’ve never quite become comfortable with the bizarre concept of turning one’s self off for a few hours. I think I’ve sort of just accepted the process as strange and have never really taken the time to think about why. We all do it. Most of us wish we could do more of it.

And then there are people who don’t sleep. I’ve really only been acquainted with one insomniac in my life and I can’t even begin to comprehend the amount of frustration they must experience. As weird as I find sleeping to be, I’m very grateful that it comes easy for me. However, with two young kids, I’ve had more than my fair share of sleepless nights. I love my girls to death but these nights have been an incredible challenge for my sanity and never once have I felt the creative itch at the tired hours of 3 AM. However, Christoffer Franzen (most notably of Lights & Motion) has been able to channel his sleepless nights in the most remarkable way.

Franzen is no newcomer to the art of writing incredibly moving music. His initial endeavor, Lights & Motion, quickly spread across the globe and captured the attention of Deep Elm Records. Situated within the genre of cinematic post-rock, Franzen’s music is perfectly suited for TV and film. He has great writing discipline that allows the music to breathe and grow but not become too drawn out and tired. Self-taught on every instrument, Franzen orchestrates his music by himself locked away in a small Swedish studio during the early hours of a sleepless night.

Having garnered remarkable success in getting his music placed on major Hollywood film trailers (Concussion, Transcendence, Lone Survivor, to name a few), high profile ad campaigns and Super Bowl commercials, Franzen is a proven musician and, more importantly, a brilliant composer. With three Lights & Motion albums under his belt, he is set to release his third composer release titled Wide Awake on March 18th, 2016. Following in the footsteps of Music For Film & Television, Volumes 1 and 2, Wide Awake is a twelve song exploration in brevity and mastery. Unlike Franzen’s work with Lights & Motion, his composer releases are made up of short, straight to the point, orchestrations specifically built for licensing. And while these pieces may leave the listener yearning for a few more minutes of musical bliss, they still work wonderfully as a whole.

Franzen took a different approach to writing Wide Awake as compared to Music For Film & Television, Volumes 1 and 2. As the album title hints, he wrote these songs during the day. This change in writing approach created a beautiful musical result that still remained true to his writing ability but revealed a more inspiring, uplifting side to his talent. I have a deep appreciation for writer’s who allow their surroundings to drive their work and find Christoffer Franzen’s willingness to use his insomnia to musically articulate himself both rewarding and inspiring.

While Wide Awake was written during the day, it still maintains a dreamy vibe that positions itself nicely next to Franzen’s previous work. Understanding his background as a composer and his battle with insomnia, immediately moves me to look at each piece on Wide Awake as a short dream. I’m not an avid dreamer, but when I do dream I find them to be short and fluid, moving in and out of semi-connected storylines. The brief nature of all of Franzen’s compositions work wonderfully as a soundtrack to a dreamscape that moves from one idea to the next, sometimes working together and other times playing with sporadicity. I’d like to think that while each of us are sleeping, Christoffer Franzen is hard at work writing the perfect soundtrack to our dreams.

C.J. Blessum

This review is about Franzen’s cinematic work. Click here for a review of Franzen’s other project, Lights & Motion.

Interview: Jim Lockey of Solemn Sun

Solemn Sun are a fairly new band, reincarnated from their previous project Jim Lockey and the Solemn Suns. I was thoroughly impressed by their 2014 debut EP, § [here’s my review] and have eagerly waited for new material ever since.

Now the wait is over. Solemn Sun have just dropped their new single, “Bloom”, an outing that shows a different side to the band. I tried to set up an interview, and despite being busy on tour with Crooks, frontman Jim Lockey found time to answer some of my questions.

Will Not Fade: Tell me about the decision to change your band name and sound?

Jim Lockey: We’d reached the end of where we could take the old band and we wanted to explore new avenues and new artistic freedoms that aren’t achievable when you’ve built a reputation that precedes you. I think we could have carried on making records like the old band but it would have been forced and false, we’ve never been about that. We need to believe 100% in what we’re doing, we love to create and constantly evolve as a band which is why we moved forward as §.

I live on the other side of the world, so have been unable to attend any shows that you’ve played in the past few years. I’ve read that you no longer play material from your previous era. So how do you manage to fill in a set when your recent release has just over 20 minutes worth of music? I can see that being enough for an opening set or festival slot, but what about your headlining tours?

We have more material than that of the EP. Things that we’ve been working on for some time now. Despite keeping a section of our previous name this is an entirely new project, it shifts between so many styles from song to song we have the opportunity to play anything we want as part of the set, this tends to include interludes of stand alone instrumental pieces as well as songs from the EP and new material.

What kinds of feedback have you been getting from old fans who liked your folky sound?

We’ve had a huge amount of support and its continuing to grow . I think if you were interested in our band before because of how that album sounded you’d feel a little out of touch with where we are now.

There was a lot of squealing guitar feedback on the last EP. Can we expect more of the same guitar heavy approach on the new release, or is it going to be more electronic sounding like on “Bloom”?

Its quite honestly shaping up to be an equal mix of both sides to our sound. We’re not too concerned with staying rooted in a particular genre for this band we just make music and if its good we put it out.

Tell me more about the new album. I’ve been following your Facebook posts, and it looks like you’ve had something in the works since at least April last year.

We’ve been solidly working on new material since the last EP. We’re very selective about the ones that make it out though and we’re In no rush to produce a full length record until its ready and we’re proud of how its shaped up. You can certainly expect drops of new music throughout this year that will hint towards where we’re headed.

Have you been trying anything new in the studio?

We like to not be your average guitar band and that’s certainly reflected in the way we produce our records. Taking a lot of influence from hip hop we use a lot of organic samples, looping and editing to give it texture as well as sound. Production can take a song in so many directions so we focus on it as much as we do writing the song.

From what I can tell, Xtra Mile are a great indie label who look after their artists. What prompted you to start istartedthefire? I assume your last EP was independently distributed, because I cannot find any info about record labels on it.

Istartedthefire was born out my want to support a number of artists that I really loved and thought weren’t been given the attention they deserved. Unfortunately the label has taken a back seat in recent years to focus on my own projects but I hope to bring it back soon with a fresh bunch of records. The Solemn Sun EP was self released and not part of ISTF. We’re going to continue down that path until we find someone who shares our vision for the future of the band, it gives us more control over it and means we can invest more in what we’re putting out.

How do you allocate your time between the band, the label, family, work etc…?

We all work extremely hard day to day so its difficult to juggle everything all the time and still make time for the band, we’re committed to it though and use any opportunity to write new stuff and plan ahead. Its calmer now working to our own timelines, so while we’re slower to release new music than full time bands we’re fully invested in what we make and have a stronger sense of achievement that we built it ourselves.

You started a label to support artists that deserve more attention. Here’s your chance to plug an underrated artist that readers need to hear.

There’s almost too many to name so I’ll choose Andy Oliveri, he’s a an amazing musician who released stuff on istf in the past. He’s been writing and recording new material for his 2nd album and its truly mind blowing, though its not planned for release until the end of the year there’s wonderful shades of early Radiohead in there that are great.

Your videos and press photos are all stark black and white grey scale. Even my vinyl copy of the latest record is a gorgeous grey/white/black splatter. How far does this black/white aesthetic extend? (Stage backdrops, instrument colours, the clothing you wear, merch etc?)

Its all black and white. Everything. It not only fits our music but it’s a good visual representation of our sound too, black and white, light and dark, mellow and heavy.

Speaking of the vinyl record, the inside sleeve bears striking resemblance to Deafheaven’s Sunbather album. Is this deliberate or coincidental?

We laid our logo out that way for the inner of the EP. We hate the idea of ripping someones creativity off for your own gain so I can assure you this was an unfortunate coincidence. The logo and icon were designed by a good friend of ours who based the concept on the idea of light and dark and the casting of shadows.

You have been able to tour with some incredible bands, and even played at the Olympic opening ceremony. What are your career highlights to date?

With this band, the highlight was releasing our first EP – for all we had to give up to pursue our new direction, and the time and effort we put into making it what it was.

Who is on your wish-list of artists that you’d like to tour or collaborate with?

I think we’d most like to be given the opportunity to play with bands that reflect each side of our influences, to have the chance to play in front of fans that don’t usually see guitar bands and rock fans that don’t listen to hip hop usually would be great. Collaboration wise it would be the same deal, we feel we can take this anywhere so if there is a chance to release songs with rappers and singers from other bands we’ll take it.

What are your upcoming plans?

Currently we’re working on new material for our next release and will be touring the UK before the end of the year, with a view to return to the EU next spring.

Solemn Sun are currently touring the UK supporting Crooks.

Solemn Sun: Bandcamp Facebook Instagram Twitter

Joseph James

Album Review: Ranges – The Gods of The Copybook Headings

I first became introduced to Ranges when C. J. Blessum asked me to review their song “Night & Day” [link to review]. Emails back and forward led to C. J. and I becoming friends, which in turn led me to invite C. J. to become a regular contributor to this site [link to some of his reviews].

Does that mean my reviewing of the new Ranges album is a conflict of interest? Well… yes. Plus, I actually feature on the first track, so I’m extra biased.

But then again, no review is completely objective. So I will write down my thoughts on this album, and you can decide if my opinion is worth trusting.

I recently realised that Ranges are a concept band. Every musical release has a theme (including the signs of the zodiac, teachings of Dietrich Bonhoeffer, the 24 hour cycle, and a Paul Harvey radio monologue). Initially most songs were entirely instrumental, with only song and album titles suggesting what each song was about, but following on from the recent standalone single”If I Were The Devil“, Ranges have begun to use samples of spoken word and prose in their music.

This most recent album uses Rudyard Kipling’s 1919 poem The Gods of the Copybook Headings as inspiration, with the first song introducing the poem, and the following ten songs written about each respective stanza of the poem.

Copybooks were used in schoolrooms early last century, to help students practice their handwriting. They were lined pages, blank save for idioms and proverbs neatly written on the headings, as examples of ideal penmanship. This is a foreign concept these days, with most children more adept controlling a computer or tablet than a pencil. I distinctly remember “writing lines” being a punishment at school (like seen in the opening scene of each Simpsons episode). But back in the day, handwriting was valued, and repeating phrases of wisdom was the way in which it was learnt.

One can imagine how these phrases would become ingrained in the mind of the student, written and re-written countless times as they improve their handwriting abilities. Biblical verses, adages, and common Victorian sayings learnt through rote writing. Kipling used these as the basis for his poem – a discussion on how traditionally valued wisdoms were being ignored with detrimental effect to society.

Image: http://www.barnes113.karoo.net/History/copy_books.htm

We are introduced to this poem by the titular opening track, read by a number of individuals (including yours truly. Does my New Zealand accent stand out?) The music is eerie and atmospheric, and the spoken word is slightly altered and decayed, as if lost in time.

This seamlessly transitions into “The Gods of the Market Place”, at first with dominant reverberating guitars and crashing drums, followed by soft piano echoing after a few measures. Closing track “With Terror and Slaughter Return” mirrors the sing, effectively bookending the album, almost making it into a loop like they did with a previous release, “Night & Day”.

The post-rock dynamics of building and transitioning from soft to searing continues through the album. Not to say that it gets tired, but the tracks tend to blend together. Overdriven guitars soar, and then drop back to gentle swells and slight picking. The piano provides light atmospheric pads, and articulate twinkling mantras. Restrained drums grow more bolder washy cymbals fill in the soundscape. It’s what to expect if you are at all familiar with Ranges – soothing one moment, and crushing the next.

Ranges embody the DIY ethic. They write, record, produce and distribute music themselves, being lucky enough to have a recording studio and printing company run by members of the band. They are also very supportive of others in the local music scene and indie music worldwide. I would love to see them play live in their hometown, but alas, I live on the other side of the world. I would also love to pour over a physical copy of their album art and liner notes. Having seen other material put out by their printing company (A Thousand Arms), I can assure you that the attention to detail will be stunning.

One of the idioms the Kipling employees in his poem is “If you don’t work you die.” If this is the case, then Ranges need not fear death. They’ve averaged three releases a year since their conception, all self made, recorded, printed, etc… And not only is their music powerful and vast, but conceptually thought provoking if you chose to engage with it. All is not gold that glitters, but trust me when I say that this album is gold.

Ranges:

Bandcamp link

iTunes album download

www.facebook.com/alpharanges

Twitter and Instagram handle: @rangesmusic

Joseph James

Live Review – Thundercat at San Fran, Wellington

Thundercat

w/ Orchestra of Spheres and Thanks

San Francisco Bathhouse, Wellington

Wednesday 3 February 2016

Thundercat is the stage name of virtuoso Stephen Bruner, most famously known for his work playing bass with acts such as Kendrick Lamar, Flying Lotus, Suicidal Tendancies and The Red Hot Chili Peppers. None of these are acts that I listen to often, including Bruner’s own music, but I knew that it would be foolish to miss this show. Why? Because Thundercat has a reputation for being insanely good at playing the bass guitar, and with that much talent, the show promised to be good regardless of what he played.

Thundercat songs are smooth, soulful R&B styled tunes sung in falsetto. Bruner played his six string bass like a guitar, eliciting mellow tones that juxtaposed beautifully against his high singing voice. Jazzy, bluesy, and eccentric all in one, the vibrant fusion songs pulsated and writhed as the three musos onstage played off each other. They would coast along nicely, before breaking loose into chaotic tangents and solos that showcased the talents of the trio playing.

Thundercat San Fran Wellington, Ben Stewart Photography (2)

Image: Ben Stewart Photography

Bruner was at home on stage. He wore an unassuming black tshirt and pants, with a red five panel hat showing a Japanese flag on his head, and white Birkenstock sandals and long grey socks on his feet. He would approach the mic for banter, pause, and just giggle to himself before gaining composure to say something. He discussed the merits of drinking water, having recently sworn off alcohol. He also dedicated a song to Peter Jackson, commenting on the Lord of The Rings installations he had seen at Wellington Airport. “What would you do if you actually saw an eagle that big?” he asked, before giggling and answering himself: “Die. Just die”.

He would hunch his shoulders forward and grimace with his eyes closed as he played. Hands like thick legged spiders scurried up and down his fretboard with finesse, churning out the groovy dancing melodies. He usually either bobbed up and down on the spot, or did a stationary strut, like a cocky rooster nodding it’s neck back and forward.

Thundercat San Fran Wellington, Ben Stewart Photography (1)

Image: Ben Stewart Photography

Like Mitch Mitchell (of Jimi Hendrix fame), drummer Justin Brown not only held his own, but sometimes overshadowed his frontman. Having two snare drums allowed him to play both open handed and cross handed with ease, not that having just the one snare would have slowed him down at all. He coloured the sound with lightning quick fills and busy ghost notes, tirelessly playing with unmatchable energy and talent. The one slip-up I noticed was met with applause, as he lost grip of his drumstick and dropped it, only to pick up a spare and continue without missing a beat. As a drummer myself, I rate Brown as one of the most impressive drummers I’ve seen live, on par with The Mars Volta’s Thomas Pridgen.

Dennis Hamm rounded out the sound on the keys, giving more treble to a mix dominated by low-end. His spacey effects added to the swirly cosmic sound. The three were clearly well rehearsed, but you could tell that they had flexibility in their playing, because now and again Brown or Hamm would play something that sent Bruner into small fits of laughter over how monstrously talented they were.

Thundercat San Fran Wellington, Ben Stewart Photography (3)

Image: Ben Stewart Photography

I attended the sold-out show expecting to be impressed by some slick playing. Well, I got that in spades. Awe-inspiring, mind-blowing – choose a hyperbole and it probably applies. I expected to see a world class musician show me his skills. Not only did I get that, but he had a world class drummer and keyboard player to match.

Joseph James

Thanks to Ben Stewart Photography for supplying the photos. Go ahead and like his Facebook page to see more.

The above video was uploaded by In The Nick Of The Rhyme, another new Wellington based music site. As you can see, Thundercat kept punters happy by playing some Kendrick Lamar and Flying Lotus material.