Tuesday, November 26, 2013

Debashish Bhattacharya - Beyond the Ragasphere (2013) (+Delayed Minneapolis Concert Review SOON)

This album is amazing. I'll try and elaborate soon (maybe later today) about it, as I finally got to listen to it on the drive down to Milwaukee on Sunday.

I'm not sure if I may enjoy it more than his last record, from 2012 in fact. The harmonies, layers, mindbllowingly fast rhythms, styles including spanish guitar, and even dance-ability really give me reason to appreciate it. Even just for the GUESTS like John McLaughlin and Jerry Douglas alone, add a lot to this record's quality.

Much like the 2nd concert I saw from Debashish in as many years at The Cedar Cultural Center in Minneapolis in September.

more to add perhaps later as I wrote, but for now, just check out the descriptions from 1 review site below:

Beyond The Ragasphere



01 : Kirwani One.5+8.five 

Debashish Bhattacharya - Chaturangui, Jeff Sipe - Drums, Anandi - Vocals, Bickram Ghosh - Tabla, Nishad -Guitar, Soumyajyoti- flute, Bumpy - Bass Guitar, Raja Narayan Deb - key board The passionate harmonic minor meets the nuance of Indian Raga Kirwani. With the smooth bends of interplay between mellow and power of rhythm in twist and twang of Afro-Indian- European colours, Debashish takes off with Anandi in dizzy melodic pattern. Jeff and Bickram deftly decorate this neo-classical composition in 10 beat cycles.

02 : Reflections Remain 

Adam Del Monte- Flamenco guitar, Debashish Bhattacharya - Gandharvi. Anandi Voice and claps, Subhasis Bhattacharjee- percussion, Bumpy and Nishad claps. Debashish paints the picture of a father holding his child’s hand looking at the rising sun on the sea shore while the child’s song echoes. With the joyous trance grooves by Subhasis and great solos of Adam’s guitar, along with the Indian vocals of Debashish and Anandi, Reflections Remain is a reminder of the haunting good times of human relationships.

03 : A Mystical Morning

John McLaughlin-Guitar, Debashish Bhattacharya Chaturangui, Jeff Sipe - Drums, Subhasis Bhattacharjee - Tabla, Raja Narayan Deb - Keyboard, Mainak (Bumpy) Chowdhury-Bass guitar Composed in Raga Charukeshi, vibrant morning energy with beautiful solos by Debashish and John Mc Laughlin infuses in the different grooves of eleven beat cycles that are supplemented with gorgeous melodic phrases and playing of John McLaughlin.

04 : Rasam Samba 

Debashish Bhattacharya- Chaturangui, Anandi Bhattacharya- Vocals and syllable chant, Tanmoy Bose-percussion and syllable chant, Raja Narayan Deb- Keyboard and Mainak Nag Chowdhury-Bass guitar
The track opens with Anandi’s vocals rolling out atop the sound of undulating waves, and a gentle guitar, before she sings a fast-moving syllabic chant. The result is a quirky dancing number that forges bonds between the sound worlds of Latin America and India.

05 : Khamaj Tarana

Anandi Bhattacharya- Vocal, Subhasis Bhattacharjee - Tabla, Debashish Bhattacharya - Chaturangui, Nishad - Nylon string guitar Khamaj is an evening Raga. Tarana is vocal composition using instrumental syllables. This pure traditional fast tempo composition sang in a contemporary style by Anandi.

06 : Indospaniola 

Adam del Monte (flamenco guitar) and Debashish Bhattacharya (Gandharvi). The E major open tuning of Gandharvi meets Phrygian mode of Flamenco and has an interactive melodic dialogue between Indian Raga and Spanish flamenco style. A feel of free dialogue between two is the feel good factor

07 : JD2 Pillusion

Jerry Douglas- Beard Jerry Douglas model guitar, Debashish Bhattacharya-Chaturangui, Jeff Sipe - Drums, Bickram Ghosh -Tabla Two brothers Jerry Douglas from blue Grass and Debashish Bhattacharya from Indian Classical (JD2) have come up to create a new mix of Guitars in a very happy fun dance number after the seductive Pilu alap by Debashish, one can identify the bond of sharing with delight in each movement.

08 : Ode to Love

Debashish Bhattacharya- Anandi (slide Ukulele) 
Nishad - Classical Guitar
This song was created at Kilkenny - a beautiful small city of Ireland. Composed on the day of performance, the little Anandi- the slide ukulele which was named after Anandi, his daughter, is a bluesy melody in G-minor with a soft touch accompaniment on classical guitar by disciple Nishad .

Friday, November 22, 2013

Capital Cities @ Myth Maplewood, MN 11/21/13 / In a Tidal Wave of Mystery (2013)

I meant to, and should share what I tried to post on Facebook earlier today about this band.

I probably saw one of if not the most jaw-dropping, yet still unknown band to me, last night in electronic/trumpet infused LA ensemble Capital Cities who played at Myth somewhat out-staging I'd say Fitz & The Tantrums . I was so impressed, I purchased Capital Cities debut record "In a Tidal Wave of Mystery" on cd (for myself) and on vinyl for my gf . 

In looking at some of their background online, I was pleasantly surprised to learn Sebu Simonian is 1 of the main contributors. Sebu, I know from his being a member of the great mid-2000's melodic pop/rock group Aviatic, who I haven't really thought about in many years. But given he was with Aviatic, I'm not so surprised to see him in another highly talented and engaging band.

Fans of Chromeo namely, would probably enjoy them. They even did a very cool synthy version of the Bee Gees "Staying Alive" and then going into an outro of all people, Weezer? "If You Want to Destroy My Sweater" LOL. It was hilarious. 

They really did blow me and my girlfriend away. Even if I found they kind of came across as partially like a Chromeo with a New Orleans-jazz flare with the trumpet. I can't help of even think a bit about Mutemath and namely some of the jazzy stuff with the trumpet on their 2nd LP Armistice (namely the remixed/extended jazzy version).

But when it came down to it, they had great energy, played to the crowd well, the visuals with sunglasses and lights. I even grew to enjoy some of the pre-recorded/tracked synthesizer rhythms.

So, I have now listened to their debut LP In a Tidal Wave of Mystery once, and it's pretty good. The songs vary enough to have me wanting to go back to them. The smooth and moody nature still works. Maybe not quite as well on an energy level, but at least from a songwriting level.

Tracks like "Farrah Fawcett Hair," "Love Away," "I Sold My Bed, But Not My Stereo," "Chatreuse," and "Kangaroo Court" stand out all in different ways. From samples, to pop culture references, to dance-able sections. This record features a lot of different elements to enjoy.Even the opening track "Safe and Sound" I'll admit to liking, even if it sounds somewhat mall-pop like, with it being mostly synth and gang-vocal centric.

I would say this band is almost like 1-part Chomeo, 1-part Daft Punk, 1-part Mutemath, 1-part Apes and Androids, 1-part Fitz and the Tantrums, 1-part Mayer Hawthorne even, and a bunch of parts which they kind of have of their own. I suppose that is 1 reason why I am intrigued not only enjoying this album more, but where they may go next sound-wise. I mean if you cover the Bee Gees and Weezer within the same cover/synthy interpretation, that does show you bring in a lot of different influences.

I must say, their trumpet player, Spencer Ludwig stood out a ton at the show. He was very charismatic. His parts do shine a lot on here, but he's maybe not included on as much of this record as I'd prefer. But perhaps he may be more so in what they do next.

But for now, these guys are another new band that I'm really enjoying, both this album and of course seeing live. I only would wonder if/when they come back, will they have the big visual setup, and sound dynamics, depending on the venue. I.e. if they played at the Triple Rock or Entry, it may not be quite as *big* sounding/seeming as it was at Myth last night. Oddly, 1 of the best shows I've seen there, especially not being a huge fan of that place.

1. Safe and Sound  3:13
2. Patience Gets Us Nowhere Fast 3:08
3. Kangaroo Court  3:43
4. I Sold My Bed, But Not My Stereo 3:55
5. Center Stage  4:02
6. Farrah Fawcett Hair (feat. André 3000)3:50
7. Chartreuse   3:39
8. Origami 3:45
9. Lazy Lies 2:57
10. Tell Me How to Live 3:24
11. Chasing You" (feat. Soseh) 3:50
12. Love Away 3:43


Neverending White Lights News (Act IV/Pledgemusic, More.)

Pretty excited for this. 2011's Act III: Love Will Ruin (part 1, it was titled anyway), was still of the quality of the other Act records for the most part. I know Jimmy Gnecco though recorded a song for Act III: Love Will Ruin, but it didn't end up on that record in 2011, so I wonder if it'll be on this. Although the way Daniel mentions he WILL BE RECORDING it in February, might suggest it won't. But maybe a few of songs recorded will still be included, re-recorded, or released as bonus tracks.

However, memory serves me that Daniel unfortunately lost a lot, if not all of his computer and recording technology due to flooding in his home towards the end of 2011, so maybe the song Jimmy was on, and the other songs intended for part 2 of Act III are gone sadly. That would explain much of why an Act III part 2 may not come out. But, from memory, many of those songs, Daniel was excited to release, which seems like it would be a shame to not have them be heard by more people and be released.

All possible answers that may or may not come. But this new record should come, and should be well worth talking about and hearing, when my time allows (it may be coming sooner than I anticipated with some recent success at work for myself).

Given NWL is a project that includes many Canadian guest musicians, I've always wondered/wanted to come up with a top 5 or 10 wishlist for a NWL record for guests. Here's a few of them (bands, or just members of the bands), just among Canadian acts:

Bend Sinister
Bruce Peninsula 
The Besnard Lakes
People for Audio
The Most Serene Republic
The Darcys
Henry and the Nightcrawlers

But the below text is the latest newsletter Daniel Victor sent out earlier today. I'm sure I'll pass along info about Act IV and the Pledgemusic Campaign when it's posted.

Hey Friends,

I wanted to take this opportunity to personally address our mailing list and say thank you for being a part of everything we've done in the past. Moving forward, I have big plans and new directions.

I'm happy to announce I will be recording an ACT IV early next year with a release scheduled hopefully for spring/summer! However, I will not be making this album unless I have the support of our fans, friends, and well wishers. In February 2014, we will be launching a PLEDGE MUSIC CAMPAIGN to join all of our fans around the world together to make this project something more memorable and more hands on. I will be asking for people to pledge towards the making of the album in return for some amazing goodies, experiences, and opportunities! I'm also going to try to somehow make it possible for people to help vote and decide who you'd want to be on the next album. I'm also going to give away one spot to BE on the new album! It's going to be a lot of fun, and in the interest of the most important thing in the world: MAKING GREAT MUSIC. I ask that you will help spread the word when the time comes and work together with me to see this come to life. More on that later, and I thank you in advance for helping out.

In the meantime, you can catch me DJing on our internet radio station, www.lovelessradio.com. Every Friday 10PM - 2AM ET is our Alternative Dance Night streaming live. We play everything from Radiohead and The Cure to Bloc Party and U2. This radio station will be growing in the upcoming while with interviews, live music, and other cool additions. Stay tuned for that. And don't be afraid to tune in at anytime to hear great streaming songs 24/7.

Follow me on Twitter for everything: @iamneverending
And on Facebook: https://www.facebook.com/WhiteLights


We have not done a single show in our favourite city in over a year. I love Toronto at Christmas. See you there!

Neverending White Lights LIVE at Tattoo Rock Parlour

Friday December 20/2013

Doors 9:00pm

$15 advanced tickets can be purchased at http://inktickets.com/show.cfm?id=110501

Don't miss your chance to see them live!


Thursday, November 21, 2013

Genders - Get Lost (2013)


This is the debut full-length from new Portland, Oregon-based dreamy/textured/post-rock group Genders. As I posted recently, they include ex-Forest Park guitarist/vocalist Katherine Paul, who actually plays primarily drums for them and on this album I believe. And she also does some if not the majority of the vocals.

The release date is on December 8th, 2013. Yeah, a bit odd day/week/month for a new original-music full-length record, but so be it. They self-released it I guess, so they don't have to concern themselves with distribution and competition for when it can be shelved in stores, etc.

I am finally checking it out just now, although I don't likely have enough time to get through it all yet. (it's a minor miracle I'm able to listen to it yet anyway, with my no-music-at-work approach the last few months). But I am intrigued enough by this band and maybe just Katherine Paul as a musician/songwriter/singer, I want to make what little time I have to share it in here.

I would say the genre-blending of those styles I posted above kind of encapsulates Genders sound for the most part. I guess they do have a poppy/happy side like on the track "Golden State." (I can't help but wonder if the Forest Park track "Golden" is in anyway connected to it, but unlikely).

But I probably shouldn't forget to add, while Katherine Paul's drum work is very refined and stands out frequently on what I'm hearing here, the other members also excel in many ways. Guitarist Stephen Leisy knows his way around creating moods and shifting tempos, including a lot of warm, dreamy, gentle tones. And his vocal work along with Maggie Morris work well on many of these tunes, at times with dreamy harmonies, at other times counterpoint from I think Katherine's and others. And Matthew Hall's bass work is quite audible and adds a great smooth backbeat at times, along with providing a funky front rhythm (if I know wtf I'm trying to say, lol).

Anyway, I'm just going to add, having seen them live, and now playing about half of it while I'm writing this, there's not a song I don't enjoy. There was 1 or 2 tracks at the show last Saturday that did totally stand out, 1 being their closing piece, which seemed to be almost in multiple parts. I'm not sure if that was the nearly 6-minute opener "Something to Get You By" or I'm thinking more likely the 6th track "How Long Can I Wait?"

Hole mother, that tune is starting floor me like I believe it did on Saturday. Stephen's guitar phrases, are almost like a melancholy voice, lol. In fact I can say the 1st half of the record, that tune stands out the most, and it may on the whole record.

But, time is not on my side (I'm seeing Fitz and the Tantrums in a matter of hours at the Myth club, and we are getting our first snow/first example of Minnesota drivers going 15 mph in fear of it), so this is just an initial review/announcement.  I hope Genders make a lot of new fans on their current tour opening for Built to Spill, and hopefully in December and in 2014, this record reaches a lot of people. It would be great to see them open for Warpaint (or the related Portland band Typhoon, except Katherine told me that might be impossible given her day job and Kyle from Typhoon's as well unfortunately) or someone like that as well as BTS, as they seem to have enough appeal to reach a lot of people.

edit: by the way, the guitar solo in "Technicolor Vision" is terrific!..omg the Trippy Peter Frampton-like wah-wah tones in the outro are unbelievable! Why have I never heard of this guy Stephen Leisy before?

"Secrets" is very cool, almost like Warpaint-meets-Kacica meets something totally Genders! The bass and guitar work could have maybe been written by that great Japanese band in fact (who I'm sure the members of Genders have never heard of, of course).

Get Lost cover art
1 Something to Get You By 5:59
2 Atlas Moth 4:30
3 Sugarcoat 4:25
4 The Wilderness 4:43
5 Golden State 4:06
6 How Long Can I Wait? 5:09
7 Technicolor Vision 4:45
8 Secrets 4:51
9 Close My Eyes 0:52
10 Twin Peaks 4:03
11 Oakland 3:54
12 Four Years 4:14

Mayer Hawthorne Winter 2014 Tour (w/ Quadron)

Press Release? I'll have to put it in later as I don't have time right now to find one.

The Minneapolis show is on the day before Valentine's Day, Friday the 13th, lol. Quadron is another band my gf enjoys, and given the choice between First Ave and places like Myth, Epic or the Skyway Theatre, First Ave is a more preferable choice.

Friday night in downtown? hopefully there won't be a Wolves game or anything.

Still, getting to finally see Mayer headline (unlike the Basilica Block Party and One Republic opening shows last Summer) to support Where Does This Door Go should be sweet. He always puts on a great show regardless. I hope unlike the show in 2012, I'll get to meet him with my gf, but no guarantees about that, esp since it's at First Ave.

But we'll see how much this show gets the Hipster attention given how long it's been since his record dropped.

And a PRESALE sure as hell better be happening as I can't see myself even thinking of doing the Ticketmasochist day-of-sale fighting of the scalpers who bogart all the tickets in 10 minutes, then list the list them soon after on stubhub for 10x the face value.

Wednesday, November 20, 2013

The Grape and the Grain (Solo/Side project of Daniel Grimsland of THREE)

I was introduced to this band/project of Daniel Grimsland of the band Three per Facebook, and I must say, its got something. "The Hudson" is I guess the most recent released work from The Grape and the Grain, but it appears they also put out a debut LP earlier this year titled Better Keep Digging, which I embedded from their Bandcamp as well below.

I haven't checked out the full length record yet, but the new single "The Hudson" and a 2nd/b-side titled "Lord I'm coming Home," I am enjoying. It's pretty ballsy, guitar driven blues-rock. I am reminded maybe a bit of a band like Hotel of the Laughing Tree in their heavy-blues moments, and even a little of older school hard rock/metal in some ways. The guitar work is tasteful, using lines that fit well. I suppose that is a big element of Bluesy kind of rock anyway.

Does it sound like Three? eh, maybe a little here and there, but I think it stands out enough to not realize it's their bass player.

Anyway, I haven't heard the full-length yet, but mean to. Right now, I gotta finish up some other posts and then head down to Northfield to see Miracles of Modern Science finally. But I'll by some miracle, lol, be able to get back to taking more of this project's music in, and hopefully some others will as well.

edit: Just based on their name, I could see The Grape and the Grain doing a good double bill with someone like Erick Serna Killing Floor or Trent Romens. Perhaps Daniel even knows Erick still as Three did tour with The Dear Hunter more than once.

Monday, November 18, 2013

Radical Face - Holy Branches (Official Video)

Dreamy, mystical, meditative and imaginative like the song. The blacksheeted+white masks seem like something I'd see at some Hallows Eve festival or something.

The Reign of Kindo on NA Tour (with Indiegogo) with Jolly and Scale the Summit Nov 2013

11/18/13 9:30PM

Needle & Thread clip

I'm not sure if the setlist is identical to this, as there are a couple of setlists on setlist.fm without "Dust."

Feeling In The Night 
Thrill of the Fall 
Great Blue Sea 
Sing When No One's Around 
Romancing a Stranger 
Needle & Thread 
The Moments In Between 
October's Storm 
The Hero, The Saint, The Tyrant, & The Terrorist 
Just Wait 

Anyway, just thought I'd share what is a very extensive and detailed review of the show on Friday night in Cleveland at "Now That's Class."

The fan who wrote this I know via Mike Portnoy's forum, and he often speaks up about a lot of the bands I enjoy around those parts. 

It's too bad he didn't get to catch Scale the Summit, nor his impression of Jolly being incredible. But it did seem the venue may have played a part in that.

But I'm happy for him to see them, and hopefully I will have that chance in the near future as well. I suppose given I am at least getting to finally catch Miracles of Modern Science in Northfield on Wednesday, is a consolation for me as they are a band I do enjoy a lot, and have wanted to see live for awhile.

But also I've read some other reviews on mp.com from the tour and it sounds like TROK has impressed a lot of people, which seems like it could benefit them to touring more in the US in the future.

9/17/13 12:37AM

Even though I don't foresee being able catch a show on this tour, I hope others can still and get word about this campaign. Touring, especially for a band like them ain't cheap. Likely the biggest reason why they have not toured the States in 3 years (and this extensive?).

But hopefully this campaign will succeed and this will lead to many more tours that they won't have to find themselves struggling to pay for gas, staffing, etc.

9/9/13 11:44PM

11/2 Houston, TX - Fitzgeralds
11/3 Austin, TX - Red 7
11/5 Scottsdate, AZ - Pubrock
11/6 Los Angeles, CA - The Whisky A Go Go
11/7 San Francisco, CA - Thee Parkside
11/8 Portland, OR - Ash St. Saloon
11/9 Seattle, WA - Highline
11/11 Salt Lake City, UT - Shred Shed
11/12 Denver, CO - Marquis Theatre
11/13 Merriam, KS - Aftershock
11/14 Newport, KY - Southgate House
11/15 Cleveland, OH - TBD
11/16 Toronto, ON - Wreck Room
11/17 Montreal, QC - II Motore
11/18 Danbury, CT - Heirloom Arts Center
11/19 Boston, MA - Great Scott
11/20 New York, NY - Santos Party House
11/12 West Chester, PA - The Note
11/22 Norfolk, VA - The Iguana
11/23 Knoxville, TN - The Bowery
11/24 Nashville, TN - The End

I would love to go, but unfortunately it's not coming near me, and I'm already likely going to Milwaukee on 11/24 to see Michael Nesmith (budget).

The Reign of Kindo, as some have noticed, don't really tour all that much outside of their area (Northeast/New York/NYC?), save for Brazil a couple of times the last few years (I've wondered if some promoter down there is a big fan and has been able to front the $ for them). So to see them tour ANYWHERE actually is encouraging.

Optimisticallythey don't lose money from this tour, and also on this tour, TROK gain some good exposure to not only new fans, but promoters who know Scale the Summit, and they are able end up doing more touring of the States next year to support Play With Fire (even as a support on a tour like this again). 

If by some chance that happens, and if a tour date/dates even come to Chicago or Milwaukee, I can't see myself not going barring something like the May/June 2012 cluster-fuck of multiple out-of-town big event concerts in a short window of time that I don't have the budget for.

But I suppose at this point, I would be thankful if they were just able reprint their Self-Titled EP on cd at least.

The 3 bands together isn't incredibly surprising as I recall hearing about Chris Letchford of Scale the Summit being a fan of TROK, and Jolly? they've been a bit of a buzz band on the forums/blogs etc, for a few years now, opening for Flying Colors playing some of the prog festivals if I recall (and are playing Progressive Nation at Sea). But like TROK, they don't do a ton of touring of North America from memory, so this is a bit rare for them as well.

Saturday, November 16, 2013

Genders (ex-Forest Park members band, Portland, OR)

11/16/13 1:45PM

Well they are in town tonight 11/16/13 playing at the Kitty Cat Klub with Aaron & the Sea, UMAMI and 1 other group. I probably could clarify 1 thing though: Katherine Paul, Genders Drummer/Vocalist may be the only member from Forest Park in Genders. For some reason I thought another 1 or 2 other members of FP were in Genders as well, but o well. But in FP she played guitar and sang, whereas in Genders she's a drummer and sings.

I dunno, if I am able to chat with her and the other members of Genders tonight, some of those details could be more clear to me. It does make me wonder a bit still on what the other Forest Park members are doing now (like I wonder about some of the ex-members of Margot & the Nuclear So & So's of course, whose fans introduced me to Typhoon to originally. Funny how these connections all come full circle/X-degrees of, etc, lol).

11/3/13 10:32PM

For those who may not be familiar with the Portland, Oregon-based band Forest Park I was totally blown away in 2012, and then included their debut EP rather high on my year-end list. And I think I did post something about their ending/demise/breakup. At least a couple of the members of that great yet maybe not highly committed group, were part of this group called Genders.

Now I recall 1st hearing about Forest Park per Typhoon's Facebook in 2012 I think, and came to believe 1 or 2 of the members of Typhoon were part of Forest Park. As it turned out, I was partially right, LIVE I guess. If I am remembering correctly, Alex Fitch, 1 of Typhoon's drummers played with Forest Park LIVE, but not on the EP.

edit: I spoke to Katherine tonight (11/16/13), and I guess Shannon Steele (violin) and Ryan McAlphin (trumpet) of Typhoon are on the FP EP as guests.

Anyway, I got to hang with many of the members of Typhoon at their show back in September at the Cedar Cultural Center and among the other Portland bands I started talking to them about, Forest Park came up and if I remember, Alex told me a lot about their situation and this band Genders.

I came to learn about Genders around the time of learning last year of Forest Park's breakup, and I even *liked* them on Facebook, but their music, from memory, didn't remind me all that much of FP or didn't do as much for me.

Well, but Alex I recall told me their newer stuff was more in the FP vein if I recall. So I just noticed Genders posted a new single on their Bandcamp earlier, and while it's not as layered or having the use of trumpet I loved in FP, it does have that dreamy post-rock style with the female vocals that I love.

If I recall, Alex may have mentioned they are looking to release a full-length soon; likely in 2014. They have from looking at their rateyourmusic.com recorded 3 Demos/EPs of sorts over the last couple of years. But this new single "Something to Get You By" (from the album Get Lost due out December 8th) maybe has more of my attention than some of the stuff I checked out way back when I 1st heard about them. The crescendo is tremendous at the end.

It kind of reminds me of Warpaint, which being highly original or not, if the songwriting is good to me I often don't care.


"Together" (Sam Smith x Nile Rodgers x Disclosure x Jimmy Napes)

Good song, although it's uncanny how much this guy Sam Smith sounds like the singer from TV On the Radio, Tunde Adebimpe (although I've said the same about some other singers like the singer from NewVillager for example).

Unfortunately, this band Disclosure doesn't do all that much for me, as their music sounds mostly like club music. But if they made more music like this, I might get on board with them.

Sunday, November 10, 2013

2013 Albums Countdown note

I will try and write something, but given my current sabbatical from listening to music (since August especially), I can't really have much if any confidence in being able to write blurbs about albums I haven't even listened to more than once or twice, or at all.

But, I have an idea of sorts at least to include a list.

However, I am scheduled to do an all-time albums list soon on the dreamtheaterforums, and I can't see doing that and not including it in here (in fact my thought is/was, to post it in here 1st, but it may just happen I'll do both simultaneously).

Friday, November 1, 2013

The Artists' Quarter could be saved?? (was" RIP :(((((")

11/1/13 5:58PM

It sounds like it may not be closing afterall as indicated:


Good article by Dave King of The Bad Plus/Happy Apple.

also a key note:

St. Paul Mayor Chris Coleman, "We're going to make sure the Artists' Quarter stays open." 


Star Tribune link

Closing at the end of 2013.
This is pretty significant to myself and boatloads of Jazz fans in Minnesota. Just as I wrote last year, ranking it as my 2nd favorite venue in Minnesota.

Station 4 closing sucks, but I suppose I have been able to accept it.
The 400 Bar and The Uptown Bar, as well.
The Rock Night Club to a point too, although

but this hits home more.

I have seen DEAN MAGRAW there many times, and those are some of the most enjoyable live shows I've ever seen. The 2 Media Addicts shows I saw there last year were amazing, and I'll never forget.

The OPEN MIC nights, every FUCKING MONDAY NIGHT, which I'm ashamed to admit, I wanted to go to for many years, and never ended up doing so.

I even indirectly met my girlfriend through The AQ (at the Dean Magraw/Marcus Wise show in November 2010, talking to Ellen Stanley whose label Red House Records was selling Dean and Marcus's new cd, and speaking to her about among other things, KFAI (where I did meet the gf).

But what I will add for now, is how it is EXTREMELY PATHETIC that a venue like this, that IS ABOUT THE MUSIC AND *ARTISTS* can't survive, because the bloody fucking hipsters/MUSIC MEDIA IN MINNESOTA spend countless hours and content on OTHER, FRANKLY MUCH WORSE VENUES THAT ARE FOCUSED MORE ON PUSHING DOWN THEIR FLAVOR-OF-THE-MONTH ARTISTS, BOTH LOCAL AND NOT-LOCAL.

And if they actually realized how this fucking space SHOULD BE CHERISHED, the fucking cost of RENT MAY NOT FACTOR IN SO MUCH.

Ever since The Dakota went South (although, I'll admit, after seeing 2 shows for the price of 1 with Josh Rouse and then Billy Cobham last week, I'm not as down about it as I was less than a year ago), this place totally became THEE place for live Jazz. I am sad to admit, I only got to see shows there the last 5 years or so.

What may happen to the local Jazz shows? they may end up at other venues I suppose. Places like Black Dog Cafe, Golden's, The Amsterdam Bar, The Turf Club, Minnesota Music Cafe and perhaps even something like Celtic Junction or Dreamland Arts, could end up with some of their shows. Although they would not likely be quite the same. For one, likely not going as late. As much as I like shows to end at an early hour, the AQ shows ending around Midnight or 1AM was kind of a tradition, and I would try and do only on Friday or Saturday nights. Those other venues, I wonder if will be as casual about the lateness factor (and calm/relaxed nature..the AQ didn't care typically if you hung around. I would chat with Davis, the night manager? often after shows. In fact, I'm sure others, including owner Kenny Horst are incredibly more down about this than myself, but having known Davis a little bit, I feel even worse for him. Which is why I, like some of my friends I imagine, will make it a point to try and attend as many shows this Fall there before they do finally close the doors.

But then again, maybe either the place can be saved. Or at least, something will pop up and fill the void for Jazz in St.Paul (and the whole state). I do wonder if something may, because the Jazz community have their fanbase, who I wouldn't be surprised, will do something financially, as a result of this. In other words, my impression has been, Jazz fans can and do have money. So, unless they end up putting even more of it towards The Dakota (than they already are), they may try using some money to a new venue, or an already existing one (who knows, maybe where Station 4 is even?).

The cost of rent is key, for most if not any venues (Station 4, or even a small business in town like "Sweet Chocolate" who had to move to what seems like a worse location, but at least another location that the rent was more in their budget). My gf was suggesting if Blackdog Cafe took on more of their shows, the cost may change at that place. Which sucks, but I guess I wouldn't blame them. I wonder if the cost of rent could be going up due to the Light Rail expansion down there, and the unforeseen costs of things like the new St.Paul Saints Baseball stadium being much higher than it was planned.

If that stuff indirectly caused the rent increase, well, it supports my feelings about those things even more. Our tax dollars are going up, that pay for that, and may have killed the AQ.

Davis, if he ever reads this, I feel for him especially. And look forward to at least coming down a few times before the place is finally closed.