Rock

Live Review: Ash Grunwald at Meow, Wellington

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Ash Grunwald

Meow, Wellington

Saturday 28 December 2015

Blues rocker Ash Grunwald started the night off with a trifecta of songs about surfing. All three were ridiculously funny, especially “Dolphin Song” – based on a true story of a pod of dolphins rescuing him from a shark. The song ended with Grunwald making absurd squeaky dolphin noises into the microphone over the top of his guitar solo which lightened up the mood of the venue.

The first song had been relatively calm, reflecting the dinner table environment that Meow had put on. But a few songs in Grunwald couldn’t help but let loose with some roaring blues numbers. Out came the resonator guitar and the slide, and there was little holding back from then on.

Ash Grunwald Meow

It was a joy to watch him wailing and stomping and letting rip on the guitar. The tunes were infectious and before long most of the people in the bar were on their feet and moving. Grunwald’s didn’t take himself too seriously, cracking jokes and making silly impersonations in the middle of songs. He was clearly having fun on stage, and projected his humour onto his audience.

I expected a small setup from a man playing a solo show, but in reality it looked like he was piloting the Starship Enterprise. Grunwald was perched atop a red stool, with an impressively large array of effects pedal to his left, two microphones in front of him, and something called a foot drum at his feet. This foot drum was ingenious. It somehow housed cymbals, a snare, egg shakers, a tambourine and a bass drum – all playable through the use of pedals. It offered more dynamics than a standard stompbox and really enhanced the overall sound. The two different microphones also helped to mix up the sound, with one having plenty of reverb and effects going through it.

Grunwald played a range of songs from his repertoire, old and new. There was no prepared setlist, he just picked songs which suited the mood. He took requests from the audience, and also played a variety of covers drawing from blues legends such as Jimi Hendrix, Son House and Howling Wolf, as well as Van Morrison and Gnarls Barkley.

Two highlights included acapella covers of “Grinnin In Your Face” and “John the Revelator”. Grunwald ditched his guitar and bellowed the songs with his powerful voice, clapping to keep the beat. For the latter song he ventured into the audience and encouraged everyone to clap and wail along.

It was a fun time. Grunwald was at home on the stage, fueled by espresso martinis and improvising as he went.  He announced his last song after having played for an hour and a half, only to have to extend his set at the request of his audience – not that he seemed to mind. Some audience members thought highly enough to each tip him $20 for his performance, despite his protests that they should at least take a CD in exchange for their money. And is there a better indicator of great show than people insistent on paying more than the price of admission to attend?

Joseph James

You can also read my interview with Ash Grunwald from a few weeks ago here.

 

Album Review: Silversun Pickups – Better Nature

Silversun Pickups Better Nature cover
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Better Nature is Californian quartet Silversun Pickups’ fourth album, the follow-up to 2012’s superb Neck of the Woods.

They’ve always written brilliant dreamy shoegaze songs with a hint of danger, but never managed to receive much attention in New Zealand. New World supermarkets started to use ‘Lazy Eye’ in their advertisements a few years ago, but I still see Silversun Pickups as an underrated indie secret. Better Nature is more energetic than the previous albums, hinting that it may prove to be the break through album in New Zealand.

(Clockwise from L-R): Joe Lester (keyboards), Nikki Monninger (bass), Christopher Guanlao (drums), Brian Aubert (guitar, vocals). Credit: Rebekkah Drake

(Clockwise from L-R): Joe Lester (keyboards), Nikki Monninger (bass), Christopher Guanlao (drums), Brian Aubert (guitar, vocals). Credit: Rebekkah Drake

The titular opening track ‘Cradle (Better Nature)’ is more explosive than I had expected from the band based on their earlier output. I realised something different was up at the songs halfway point, when the choral chant of “Better! Nature!” launches into a raunchy guitar solo. The previously shy shoegaze sound has turned frantic and demands the listener’s attention, while still retaining the attractive fuzziness. Second song ‘Connection’ follows up just as strong.

It’s the same Silversun Pickups sounds that you know – crisp drums, throbbing bass, ethereal fuzzy guitar and atmospheric synths. But this time it’s a case of more. More variety, more attitude, more wild and unkempt. Frontman Brian Aubert even looks more wild. Watch the video of their last video clip (Cannibal) and compare his appearance to the ‘Nightlight’ video and you’ll see what I mean.

Better Nature features loads of interesting sounds and tones, lurking almost into industrial territory at times. For example, ‘Friendly Fires’ reminds me of soundtrack work that the album’s mixer Alan Moulder has done alongside Nine Inch Nail’s Trent Reznor in the past. It begins with threatening throbbing bass that evokes a tense thriller scene, before the introduction of chirpy keys reminiscent of Jay Z’s “New York State of Mind”. The cut out chorus sung a capella over hand claps adds to the eerie feel..

Lead single ‘Nightlight’ also has a lot of similar elements to Nine Inch Nail’s ‘Hand That Feeds’. It’s not as upbeat, but the distinctive drumming, moody bass, and victorious chorus make it a perfect synth pop anthem.

(WARNING the above video contains violence and nudity.)

It’s impressive that the band can keep their familiar signature sound and still write songs that sound different. You can tell that they’ve made an effort to prevent the songs all sounding the same. Many start strong and unique, before slowly reverting back to the usual fuzzy sound. And there are so many strange outros that don’t match their respective songs. Clinky slow xylophones, a child singing, and odd vocals all feature in outros that seem out of place, in attempt to mix things up.

‘Pins & Needles’ is my personal favourite, featuring a groovy swagger thanks to slide guitar before returning to the familiar infectious fuzzy sound. The guitar solo is a ripper too, with some delicious tones. ‘Tapedeck’ has lovely resonating marimba or vibraphone playing over a dancy syncopated beat and dripping with odd sounds that allude to industrial music. The expansive slow chorus sounds odd juxtaposed against the driven verses, but it works. Bassist Nikki Monninger takes over lead vocal duties in the echoed chorus of ‘Circadian Rhythm (Last Dance)’ and her voice is so good it’s a wonder that she didn’t feature more prominently throughout the album.

Better Nature is great – both recognisable and fresh. It’s more dangerous and wild than the previous albums, with the same brilliant aspects that made them so good. It’s not as dreamy anymore, but the dark new urgency makes for more exciting music.

Silversun Pickups:         Website         Facebook           Twitter         Instagram           YouTube

Joseph James

Buried Treasure: Biffy Clyro – ’57’ (live at Wembley)

Biffy Clyro 57
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Buried Treasure is a semi-regular feature that explores some hidden musical gems – the rare and forgotten B-sides, covers, hidden tracks, live versions and alternative takes that deserve some recognition.

Biffy Clyro – ’57’ Live at Wembley

Biffy Clyro are my favourite band. Most of my friends are probably sick of how much I rave about them.

If I had to pick my favourite release of theirs it would have to be the Revolutions // Live at Wembley CD/DVD set. They have a lot of strong albums to pick from, but Revolutions collects most of their best material, and some of the live versions are better than the studio versions. I’ve used that DVD to convert many of my mates into Biffy believers.

BiffyClyroRevolutionsLiveAtWembleyBox '57'

The limited edition tin box set that I own is excessive. It came half full with confetti from the concert, along with a piece of wood from a smashed guitar, stickers, a poster, a copy of a diary from the tour manager, and the all important CD/DVD. It cost me an arm and a leg – paying the currency conversion fees and international postage – but I don’t regret it in the slightest.

The DVD includes 25 of Biffy Clyro’s best songs that they’d released at that point. Hard hitting rock anthems, emotional acoustic songs, sing-along ballads, and weird indescribable early eclectic stuff. Material from their most recent studio album, Only Revolutions, hadn’t changed much while transitioning from studio to live setting, but it was clear that some songs from their early days had evolved over time.

The best of these was the ’57’, from Biffy Clyro’s début album Blackened Sky.

’57’ is a companion piece to ’27’, another single from the album. It’s written in a typically Biffy unusual style, showcasing their penchant for mathy riffs with odd time signatures. For a three-piece band to work well, every member needs to be pretty capable on their instruments. This more than applies to Biffy Clyro, whose three members are all phenomenally gifted. They even split vocal duties in this song. ’57’ features aggressive grungy loud/soft dynamics, such as the quiet “do, do ,do” prechorus that leads into the explosive chorus.

BiffyClyroBlackenedSkyPurpleLP '57'

The debut album Blackened Sky, in lilac purple. This pressing also features nine B-sides on a second LP.

’57’ is a highlight of Blackened Sky, but the live version was so much more exciting and energetic, somehow rejuvenated. Maybe it’s because it was one of the first songs that the band recorded, giving them about 10 years to hone and improve it before they filmed it at Wembley. The infectious “HEY”s in the chorus work so much better with everyone in the crowd shouting it.

http://www.youtube.com/watch?v=_XuOTIIb4p4

Needless to say, I was over the moon when they played it at their first ever New Zealand show. It was certainly a highlight from an already outstanding set.

Usually studio recordings are better quality than live versions, because songs can be edited and touched up during production. Revolutions is a rare exception to that rule, with ’57’ being the most standout example. You can find live versions of songs that Biffy have written since Revolutions on Opposites: Live at Glasgow, but sadly the audio quality for the latter isn’t nearly as good.

 

Joseph James

Album Review: Gary Clark Jr – The Story of Sonny Boy Slim

Gary Clark Jr The Story of Sonny Boy Slim cover art
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I’ve seen Clark play on both his visits to NZ. The first time he opened for the Red Hot Chili Peppers at Vector Arena in 2013. It was only a four-song set, but it was enough to blow me away. When he came back to our shores earlier this year he proved once again that he is a musical force to be reckoned with.

There was never a question of whether The Story of Sonny Boy Slim was going to be good. Gary Clark Jr has the midas touch of the guitaring world. The question was whether he would be able to capture his sensational live energy on his sophomore studio full-length.

The problem was that his Black and Blu album wasn’t comparable to his stage sound. The dirty rawness got lost in the production. The songs were good, but didn’t allow the true brilliance to shine through.

Before I discuss the music, I must note that this album is visually stunning. I bought the 2LP gatefold vinyl and the art is great, with a contrasting colour scheme of red, yellow and black. The best aspect is side D, which features the scene from inside the gatefold laser-etched onto the disc.

Side D, with laser etchings of the picture from inside the gatefold

Side D, with laser etchings of the picture from inside the gatefold

Clark has taken more control over this second album. No co-writers are credited this time round. He also dominates with the instrumentation, playing bass, keyboards and drums as well as the expected vocals and guitar. This would suggest that the record could sound more clinical, having been recorded in so many separate takes. But it doesn’t. And kudos to Clark for having the ability to pull off the work that usually requires a full band. He roped in some mates to help out at times, including saxophone, horns, organ, piano, and flute to flesh out the sound.

The Story of Sonny Boy Slim is also a bit of a family affair. Clark’s fiance Nicole Trunfio and son Zion feature in the intro of ‘Hold On’, and his sisters Shawn and Savannah provide backing vocals on a three tracks.

Speaking of intros, the start of first track ‘The Healing’ has an odd little pre-amble that sounds like something Son House would sing. It’s not a strong introduction to the album, but it does foreshadow that this album is more of a nod to older styled blues.

‘Grinder’ is the designated crowd pleaser – the rock number with the obligatory guitar solos the whole way through. But The Story of Sonny Boy Slim is not an rock record (surprising, considering that the release date coincides with the commencement of a tour supporting rock titans Foo Fighters). Instead most of the songs sit back in the groove. This is the album that requires being in the moment. There’s no hurry. There doesn’t need to be.

Take, for example, ‘Star’. It has skanking guitar and falsetto singing riding upon a delicious bassline. It stays strong and steady the whole way through.

Some of the stand out tracks include ‘Hold On’ – a more ballsy song that features a horn mantra and squealing guitars; ‘Wings’ -which showcases Tameca Jones as the amazing guest vocalist who sings above the infectious syncopated snare patterns; and ‘Can’t Sleep’ – with more squealing guitars and a bouncing beat.

We hear nod’s to the inspirations from the past in the Motown-sounding ‘BYOB’, and the ho-down that is ‘Shake’ goes full-vintage with prominent slide guitar. Harmonica and organs and brass instruments all feature heavily throughout the album, too, giving a New Orleans flavour.

Final track ‘Down to Ride’ is like ‘You Saved Me’ version 2: the longer hazy extended jam. It takes me back to when I saw Clark play last, drinking in the soulful tunes in a hazy, dimly lit venue.

Clark is no longer the promising young guitarist from Austin who needs to impress and make a name for himself. He has proven himself already, so now he can sit back and play music for his own satisfaction. And taking a more personal approach may have reduced the sell-ability of the album, but it also lifted the overall quality and cohesiveness. He doesn’t need the co-writers, the producers or show-off songs. His songwriting is strong enough that he can let the music sell itself. This is an album designed as a whole, rather than a collection of singles.

Listen to ‘Church’ (featured above), a track that Clark previewed at his Wellington show earlier in the year. It’s nothing flashy. Hell, it’s straight up basic. But there’s something that I can’t quite pick that makes it utterly electrifying.

If you’re after the next Hendrix, then this album will disappoint. But if you are happy to settle for some stunning blues, saturated in a relaxed vibe and some thrilling instrumentation, then this will suffice. And of course the guitar playing is still brilliant.

Clark is Sonny Boy Slim. This is his autobiography. And it’s well worth a listen.

Joseph James

Buried Treasure: Foo Fighters – A320

Godzilla Soundtrack
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Buried Treasure is a semi-regular feature that explores some hidden musical gems – the rare and forgotten B-sides, covers, hidden tracks, live versions and alternative takes that deserve some recognition.

The Godzilla film that came out in 1998 was crap. The soundtrack that came with it was also fairly weak.

It starts off badly. First we have Bob Dylan’s son stripping David Bowie’s song ‘Heroes’ of any appeal. This is followed by P. Diddy posturing and say “uh” a lot over the top of Led Zepplin’s ‘Kashmir’.

With the exception of a few OK tracks, this album must be a collection of the lamest songs that existed in the  90’s “alternative” scene. Even the Rage Against The Machine song “No Shelter” ironically critiques the film it was commissioned to be written for. The best song would have to be a remix of Green Day’s ‘Brain Stew’, although I find it humourous that the remixing consists of a drum pattern played on the bell of a ride cymbal and Godzilla roars and growls scattered throughout the song.

Why did I bother to buy the CD then? Two reasons:

1) it only cost me $1

2) it features a rare Foo Fighters song called ‘A320’.

‘A320’ is a long song (almost six minutes long). It is also quite unlike anything else the Foo Fighters had released, at least until Dave Grohl decided to double the size of his band in 2006 for the Skin and Bones tour. The main things that sets this song apart is the inclusion of a string section. It’s soft and slow building, almost like a lullaby. To be honest the song is pretty unexciting until it hits the breakdown. This is when the going gets good. During the breakdown the Foos grunge it up with a filthy distorted riff, sloshy cymbals and squealing guitars. This follows on from then on. The grungy rock band actually sounds pretty good coupled with the orchestral string section.

Foo Fighters fans should find ‘A320’ fairly interesting, seeing as how it’s a departure from their usual sound. It’s not the most exciting song that they’ve ever written, but it sounds pretty epic by the time it comes to an end.

Joseph James